Machine Guitars (1982) - Remko Scha

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This record presents music emerging out of simple mechanical processes. The machine configurations employed are shown in the accompanying diagrams. Most of the tracks use uniformly moving sabre saws with ropes or flexible metal rods attached. The standing waves created in these attachments hit the strings of electric guitars. On track B4, a rotating metal brush operates directly on a guitar string. All pieces are autonomously played by the machines, without human control or interference.

All pieces recorded by the composer, September 1981- March 1982, at Apollo House, Eindhoven, except B$ recorded by Mark Abbott, April 1980, at WKCR-FM 89.9, Columbia University, New York. Mastered by Roland Smits and Theo van Eenbergen, July 1982, at 'Rauchende Colts', Nuenen.

-- FROM THE LINER NOTES FOR THE ALBUM "MACHINE GUITARS" BY COMPOSER REMKO SCHA

UbuWeb has recently uploaded this album, you can listen to it here.

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LIT FROM WITHIN (2008-Ongoing) - Ryan Wolfe

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(Image Courtesy of Dam, Stuhltrager Gallery)

In a sun-less room, plants thrive using light emanating from within their own living tissue. Technological and biological merge to create a unique hybrid living system which inverts the fundamental biological relationship between inside and outside. Clusters of Equisetum Hyemale (Common Horsetail) surgically-embedded with LEDs radiate the equivalent of internal sunshine, enabling photosynthesis in darkness. Sunrise and sunset programmatically occur from within each plant, allowing viewers to navigate a field of organisms flourishing off their own internal sun cycle.

-- DESCRIPTION FROM THE DAM, STUHLTRAGER SITE /FONT SIZE>

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email erosion (2006) - Etham Ham

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This gallery-installation/internet-art hybrid automatically created sculptures using spam and e-mail to trigger the sculpting process. It consisted of a steel frame surrounding a large block of biodegradable (starch-based) Styrofoam. Attached to the frame is the Eroder: a mobile sprayer that squirted colored water on to the foam. Done in collaboration with Tony Muilenburg and commissioned by Rhizome.org.

-- FROM THE ARTIST'S STATEMENT

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Growth Rendering Device (2007) - David Bowen

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This system provides light and food in the form of hydroponic solution for the plant. The plant reacts to the device by growing. The device in-turn reacts to the plant by producing a rasterized inkjet drawing of the plant every twenty-four hours. After a new drawing is produced the system scrolls the roll of paper approximately four inches so a new drawing can be produced during the next cycle. This system is allowed to run indefinitely and the final outcome is not predetermined.

-- FROM THE ARTIST'S STATEMENT

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Printershake/Earthquake (2007/2008) - Joe Winter

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Printershake/Earthquake (Concentric Circles), 2007/2008 (8.5" x 11", shown with detail. Image courtesy of the artist.)

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Printershake/Earthquake (Performance Documentation), 2007/2008 (Image courtesy of the artist.)

For this project, artist Joe Winter aggressively shakes a computer printer during the process of printing. The movement creates the above colorful effect.

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Plink Jet (2008) - Lesley Flanigan and Andrew Doro

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Plink Jet is like an elaborate electric guitar made from the motors and mechanical components of inkjet printers. It can play itself independently or be played by a person.

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Dot Matrix Synth (2003) - Paul Slocum

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The user presses buttons on an attached control interface to play different notes. As the printer is played, it's also printing a set of images that are programmed into the printer's EPROM with the software.

The printer creates sound from the print head firing pins against the paper and the vibration of the stepper motor driving the print head back and forth. To generate different notes, the software adjusts the frequency of the printing process. Higher pitches tend to come from the firing of the pins against the paper, and lower pitches come from the rattle of driving the stepper motor.

The external eight-button interface plugs into the printer's font cartridge port. Each button has an assigned pitch, and pressing multiple buttons simultaneously activates the arpeggiator that quickly cycles through the notes you are holding down. The software also has the ability to run without the button interface, using the three buttons on the printer's front panel instead.

There is interaction between the images and music. The image dithering patterns fluctuate depending on what notes are played, and the music's volume and rhythmic patterns change depending on the pattern in the current horizontal section of the image. The printer can store about three pages of black and white images which print in order and then repeat.

-- FROM THE ARTIST'S DESCRIPTION

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SHIFT Electronic Arts Festival Basel 2009 on VernissageTV

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For those who missed the recent SHIFT Electronic Arts Festival in Basel, VernissageTV put together a video compiling installation footage from the exhibition segment of the event, which included AIDS-3D, Craig Baldwin, Zoe Beloff, Lindsay Brown, Erik Bünger, Jim Campbell, Center for Tactical Magic, Susan Collins, Bill Domonkos, The Einstein's Brain Project, F18, Atelier Hauert/Reichmuth/Boehm, Christoph Keller, Julien Maire, Tatjana Marusic, Jane D. Marsching, Shusha Niederberger, Ruth Sergel, Harm van den Dorpel, Apichatpong Weerasethakul, and Patrick Ward. The theme for this year was “Magic. Tech-Evocations and Assumptions of Paranormal Realities.” In the clip, keep an eye out for F18’s robotic installation Living Kitchen - Happy End of the 21st Century (2006) which transforms a suburban kitchen into a scene reminiscent of Poltergeist.

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Thirty-four Parking Lots (2003-Ongoing) - Dave Dyment

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A proposal to remake Ed Ruscha’s classic bookwork, replacing the corporate lots with the private lots that spring up in my neighborhood once a year, during the Canadian National Exhibition. A folk-art archive of sorts.

-- THE ARTIST'S STATEMENT

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Carpark (1994) - Mark Tribe

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Carpark from Mark Tribe on Vimeo.

Cars are a defining feature of the landscape and social space of Southern California. Especially in San Diego, where freeways weave like dangerous ribbons through a terrain of strip malls and tract housing, driving is an almost inescapable part of daily life...

On August 31, 1994 from 6am to noon, a team of 50 professional and volunteer parking attendants directed the arriving cars to predetermined lots according to car color. Each of the fourteen lots was filled with cars of a different color: dark blue, blue, light metallic blue, silver & gray, black, beige, brown, metallic raspberry, yellow, electric blue, white, aqua, green and red.

-- EXCERPT FROM THE ARTIST'S STATEMENT

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