For an invention meant to help us express ourselves, language sure comes with a lot of rules. To some, this is an exciting artistic challenge, while to others this is a barrier to the full expression of an identity that may no more adhere to a culture's norms than it does to the grammar of the mother tongue that culture gave her. This quandary has led many media studies scholars to take an interest in the relationship between natural languages and computer languages, between social codes and computer codes. A new online exhibition, entitled "You Own Me Now Until You Forget About Me," traces these issues and adds to the grist questions about the ownership of language (from authorship to identification with a lexicon to branded alignment with various software platforms, etc) and the looming potential of languages to die. Enveloped within these issues is an aspiration to study and encourage human interaction, and to preserve the traces of these conversations. The show includes work by Karl Heinz Jeron & Valie Djordjevic; Martin Wattenberg & Marek Walczak; Codemanipulator; J�rg Piringer; carlos katastrofsky; Mary-Anne Breeze (a.k.a. mez); and Christina Goestl. Some of these contributions are classic net art pieces already experiencing the interestingly adverse effects of time on web-based media, but all of them are important contributions to this discussion of communication. Surf them for yourself and then add to the show, if you'd like. That's right! Curators CONT3XT.NET have adopted an open curatorial model that allows visitors to chime in and widen the vocabulary used "in the exploration of our language with its arbitrary systems and rules, its corresponding functions within society, as well as with its absurdities and restrictions for the individual." The show will also be installed at the Museum of Modern Art ...
At least in principle, there seems to have been a wide embrace of the open source movement. The argument that things should be left open to improvement, and even personalization, by those with the know-how appeals to many of us. But where did the broader drive for "openness" come from? And what are its implications beyond technology? The "Disclosures" exhibition on view at London's Gasworks through May 18th looks at manifestations of open source methods in offline areas of cultural production. Curators Anna Colin and Mia Jankowicz describe these as "situations in which the viewer, reader, listener or internet user becomes emancipated through egalitarian participation, collaborative authorship, and/or the breaking down of hierarchical and social boundaries." Emancipation is, of course, a strong word, but it refers here to the freedom to participate in the social, economic, and production processes that inform our social reality. This is a utopia "Disclosures" both holds-up and critiques through the inclusion of work by artists and tactical media practitioners as well as cultural theorists and music producers. Projects include Declose, by Open Music Archive, a vinyl remix tool compositing copyright-expired breaks and samples from early jazz, blues, and folk recordings with new "copyleft beats" by invited musicians; John Barlow Gone Offshore, the newest chapter of Goldin+Senneby's effort to explore "the projects and mythologies of the invisible" in which fictional character John Barlow blogs his investigations into an offshore company known as Headless Limited; and Tsila Hassine and De Geuzen's web-based Image Tracer, a beautifully layered snapshot of the appearance, disappearance, and ranking of Google Image Search results that grows out of the collaborators' interest in "media images and the way their significance and presence fluctuates in the ecology of the world wide web." Not surprisingly, given its open source inspiration ...
The LilyPad Arduino
Demonstration of a shirt made with a mounted motion-responsive LilyPad
At first glance, it would seem that wearable computing and traditional craft operate in distinctly different realms of cultural production. However, Leah Buechley, a University of Colorado at Boulder PhD student working with the Craft Technology Group, bridges this gap by taking a homemade approach to the use of computation in clothing or jewelery. The LilyPad Arduino Kit allows for the construction of simple, but aesthetically innovative, computational jewelery made out of the environmentally responsive open source platform known as Arduino. According to Buechley's site, the LilyPad is "designed to empower novices to work with electronic textiles. Using the kit, you can build your own soft interactive clothing." Along with the necessary tools, the kit also includes a highly instructive tutorial that will provide those without a strong background in technology with the know-how to build their own arduino and apply it to their projects. Leah Buechley will lead a lesson on the LilyPad Arduino at Mediamatic's Designing Wearable Hybrids workshop from February 19-21 at Mediamatic, Amsterdam. - Gene McHugh
Sponsored by the digital arts organization folly and the Arts Council England, the Digital Artists Handbook is a free practical guide to the field. Specifically aimed toward artists working with Open Source Software, the creators hope to "bridge the gap between new users and the platforms and resources that are available, but not always very accessible." The site hosts articles on a wide variety of topics related to the bits and bytes of digital art practice, including project management tips, open content guides, instructions for digital video, digital graphics, and sound tools, hardware development strategies, etc. The entries are authored by leading curators, artists, programmers, activists, and arts administrators, such as developer and artist Jon Phillips, activist and academic Florian Cramer, curator Olga Goriunova, musician and programmer Thor Magnusson, and many others. Compiled from August 2007 through January 2008, the material included in the guide is up to date.
Masterclass:Networked Rites and the Quest for Morphic Fields of Compassion
ARRAYLIST LISTSERV --> NEW MEDIA PEDAGOGY OF THE [ ] // JULY 2015 THEME:CODE