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".
A sequence of fair use background images arranged for aesthetic and formal reasons, paired with a short story assignment generated through Amazon's Mechanical Turk in response to the image sequence.
In 2009 the editorial team at Mute (in association with Autonomedia) published a collection of past magazine content under the title Proud to be Flesh: A Mute Magazine Anthology of Cultural Politics after the Net. It was an exercise in content curation, but not, as they point out, an attempt to assemble a greatest hits album. Rather, it reorganises a body of Mute’s diverse output around a selection of themes that are perhaps more apparent (up to) fifteen years later.
In many respects - through the early newspapers, magazines, websites and recent print-on-demand journals - Mute has long engaged in providing content navigation systems for internet-inspired knowledge and the darker side thereof. And they have been doing so in an era defined by its obsession with charting and re-charting the information landscape. What Proud to be Flesh does, therefore, is offer up yet another entry portal to Mute’s rich and important net-knowledge while, in its very book-i-ness, commenting on the current upheaval in text interface products.
The following interviews were sourced from netpioneers 1.0, a research initiative active from 2007 to 2009 that was devoted to early net-based art, organized by the Ludwig Boltzmann Institute Media.Art.Research. in Linz, Austria. All the interviews were conducted by Dr. Dieter Daniels.
In 1966, Allan Kaprow made the following statement in the Manifestos pamphlet:
Contemporary art, which tends to “think” in multi-media, intermedia, overlays, fusions and hybridizations, is a closer parallel to modern mental life than we have realized. Its judgments, therefore, may be acute. “Art” may soon become a meaningless word. In its place,“communications programming” would be a more imaginative label, attesting to our new jargon, our technological and managerial fantasies, and to our pervasive electronic contact with one another.
Fast-forward to 2010, and one wonders what Kaprow would make of "Avatar 4D," an evening of performances -- or, more precisely, a happening -- by seventeen internet-based artists "set up as chaotically choreographed circumstances that exist in a reality of virtual proportions." Taking its cue from the dually alienating and revelatory push-and-pull of our hyper-connected lives, and the existence of "pervasive electronic contact" taken to the nth degree, artists will webcam, stream, project, and otherwise stage work in both San Francisco's NOMA Gallery and Richmond's Reference Gallery this Saturday, April 17th. The event is curated by the collaborative curatorial team JstChillin (Caitlin Denny and Parker Ito), who are also behind the original and often humorous online exhibit series Serial Chillers in Paradise. The press release describes the artists in "Avatar 4D" as "reality hackers" -- citing Petra Cortright’s webcam videos and Ben Vickers' disclosure of his personal usernames and passwords as examples -- who experiment with "the theoretical apparatus of struggle" in the context of "the ever changing modes of the net" and its impact on the self. It seems the artists behind "Avatar 4D" are attempting to insert "art" into a reality lived in anticipation of its constant representation and performance online, perhaps becoming a form of "communications programming" within a self-programmed reality. Whatever ...
Eilis McDonald's Rapture Heap is a multi-phased project that centres around the occupation of one of Dublin's many empty retail spaces. The first installment of the project saw McDonald curate an exhibition that highlighted the artists that influence her and brought to Ireland some of today's most prominent internet based artists (http://www.raptureheap.com/v1). "Back to Reality" is the second installment of the series. Here McDonald delivers a body of work that is a result of her 6 month residency in the retail space. Commissioned under the Per Cent for Art Scheme for Dublin City Council’s Liberty Corner, the residency period afforded the artist time and space to explore the wealth of diverse activity in the surrounding area - from the various cultural institutions, such as the LAB and DanceHouse, to the Buddhist Centre, €2 shops, financial institutions, beauty salons and 24-hour internet cafés. With this particular urban spectrum serving as her backdrop, McDonald searches for the sublime and ethereal by seeking out the spiritual and subliminal. McDonald recontextualises the discarded artefacts of the local domesticity found in charity shops and fuses them with video assemblages that include a transient public contacted through advertising and classifieds in the CityAds Weekly newspaper. "Back to Reality"; the research phase of the Rapture Heap project brings together a number of varied strands of interests and motivations. The projects future online presence provides access to a broad national and international public and an opportunity to relate to a wider demographic, while the installation provides a visceral, immersive physical environment. "Back to Reality" presents a story-thus-far in preparation for the 3rd installment of the Rapture Heap Project.
An Immaterial Survey of Our Peers is a group show currently on display at the School of the Art Institute of Chicago. Curated by Web collective JOGGING, the exhibit brings together the work of a group of artists whose art is primarily displayed and distributed via the Web. Given the immaterial quality of much of the work, the show does not physically take place within the gallery space itself. Instead, the artwork has been collected and arranged over photos of the empty gallery space using digital compositing techniques. These photos are then displayed as documentation of the exhibit on the show website, and projected onto the walls of the gallery space for the show's duration. Artists on display include AIDS-3D, Kari Altmann, Jon Rafman, Travess Smalley, Ben Schumacher, and Hermonie Only, among many others. The show is currently on display both online and at the Sullivan Galleries at the School of the Art Institute of Chicago.
Gene McHugh, Rhizome's former Editorial Fellow and a periodic contributor to the site, received the Creative Capital | Andy Warhol Foundation Arts’ Writers Grant earlier this year and has used these funds to begin the "Post Internet" blog. His project aims to build a space to reflect on "...art responding to an existential condition that may also be described as 'Post Internet'-when the Internet is less a novelty and more a banality. Perhaps this is closer to what Guthrie Lonergan described as 'Internet Aware'-a term that I’m sure I will be thinking through here sooner or later." The blog is essentially a bare-bones workspace for his loose, often train-of-thought musings on contemporary internet-based art, and covers everything from Google's Parisian Love ad to Seth Price.
Editor's Note: Ryder Ripps, of Internet Archaeology, along with Tim Baker (Delicious) and Scott Ostler (MIT Exhibit), recently launched a beta version of dump.fm, a chat room where participants communicate solely through images. The site combines the creative back and forth of surf clubs, tumblr’s loose and rapid-fire network of image transmission, and the real time spontaneity of an old school chat room. Right now dump.fm is strictly invite-only, but Ryder was generous enough to offer a special invite code to Rhizome readers - “RHIZOME” - so they can play around with the site. Ryder drafted a statement about his concept and aspirations for dump.fm, below.
I remember going into AOL chat rooms, and experiencing instantaneous glee. The hyper-everything world; where experiences come and go at the pace of your typing. Instantaneous collaboration and connection. These are the feelings I wanted to recreate in conceptualizing dump.fm. Dump.fm is a place where you can share images from anywhere on the web, your hard drive or right from your webcam, in real time with other people. Today content moves so fast, making a blog post from a week ago irrelevant. Dump.fm is a place where content is hyper-transient and used to facilitate connections and induce creativity. I think in the future people will produce and consume content much faster and because of this we must reconsider the value of content. For the surf club Spirit Surfers, content is a way to document and make public the most powerful content in the hypnotic surf, “Most of the really enlightening surfs I've had did not end with a post to a surf club -- surfing is so private, it rarely ends in a public act.”, as club creator Kevin Bewersdorf states. Where surfing was a private act from ...
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.