Now at the Daniel Langlois Foundation

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David Rokeby, Very Nervous System, 1983-

Montreal's art and science organization the Daniel Langlois Foundation announced a new collection of online materials for Canadian artist David Rokeby's work Very Nervous System (1983-), an interactive sound installation that reacts to the movement of visitors. The work has developed over the years, and has exhibited in many contexts. This particular collection of documentation is interesting because they bring in the audience's response to the work, through a series of interviews. You can read more about the project and their approach in the excerpt below from the "Introduction to the Collection" by Caitlin Jones and Lizzie Muller.



This is the second documentary collection that we have created for artworks by David Rokeby. In 2007 we produced a collection for the artwork Giver of Names (1991-), through which we developed a documentary approach to media art that captures the relationship between the artist’s intentions and the audience’s experience or, as we have described it, “between real and ideal” (1). The aim of this strategy is to acknowledge the fundamental importance of audience experience to the existence of media artworks and to create a place for the audience within the documentary record.

We believe this approach offers a productive way to reconcile how media artworks exist in the world and how they are represented in an archival context. In recent publications, we have begun to refer to the product of this approach as an “Indeterminate Archive”: a collection of materials that provides multiple perspectives of the work, as well as multiple layers of information, held together with—but not secondary to—the idea of the artist's intent (2). This indeterminate archive, we have argued, captures the mutability and contingency of the artwork’s existence, creating a more, not less ...

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Outer Space (1999) - Peter Tscherkassky

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In half-light and fractured, staggering visuals, a young woman enters into a suburban house at night. As the door closes behind her, both the physical space and the surface of the projection begin to splinter, collapse and rupture. Spaces enclose and enfold, the female subject multiples and shatters across the screen, and the film itself screeches and tears as the sprockets and optical soundtrack violently invade the fictional world. Any semblance of a cinematic narrative is overwhelmed and assaulted, leaving it scattered in a thousand shards amid an entirely unique cinematic language. This is Peter Tscherkassky's Outer Space.

-- FROM "OUTER SPACE: THE MANUFACTURED FILM OF PETER TSCHERKASSKY" BY RHYS GRAHAM

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Ben Russell + Joe Grimm - MAZES (March 2009 / La Casa Encendida, Madrid)

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Ben Russell + Joe Grimm - Mazes from mediateletipos on Vimeo.

Originally via DINCA

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Tristan Perich's 1-Bit Symphony Release Party Tonight

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Rhizome-commissioned artist Tristan Perich celebrates the release of his 1-Bit Symphony on Cantaloupe tonight at Roulette with a special concert at 7pm. Daniel Wohl's "Glitch," Shawn Greenlee, Michael Gordon's "XY" and Steven Reich's "Violin Phase" are also scheduled. A "circuit album," 1-Bit Symphony performs a composition in five movements which have all been programmed onto a single microchip. Perich talks about the process in the clip above, and provides a sample of the work. I-Bit Symphony is an continuation of Perich's interest in 1-bit electronics, realized in previous projects such as in 1-Bit Video (2006-Ongoing) and his other circuit album 1-Bit Music (2004-2005).

We did a "1-Bit" interview with Perich on the occasion of his exhibition at bitforms gallery last Fall, check that out here.

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Homebrew Electronics

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Kitteh! Steve’s cats Perrey and Kingsley’s homage to CatSynth

Homebrew Electronics is a series on the Rhizome blog. For these posts, I will be conducting studio visits with artists and inventors who create unique electronic instruments.

Last week, I met with Steven Litt of CrudLabs at his Greenpoint apartment. While a graduate student at NYU’s ITP program, Steve developed a machine known as the CrudBox. Central to his installations and performances, the CrudBox allows users to plug electronic or electromechanic devices into a 16 step, 8 channel step sequencer. While normal sequencers draw from a set bank of sounds, the CrudBox allows one to plug in devices such as turntables or solenoids or power tools, opening up the range of sounds one can sequence.

In his living room, Steve had plugged in seven portable turntables into a CrudBox.

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Portable Turntables plugged into a CrudBox

The exterior of this version of the CrudBox was designed by Steve’s friend artist Panayiotis Terzis, who silkscreened all the imagery on the exterior.

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The CrudBox

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Detail of Panayiotis Terzis's silkscreen on the exterior of the CrudBox

The turntables operate off AC voltage, and the CrudBox runs off DC, so Steve had set up a system of high voltage relays so each turntable can be individually activated without any issues. These relay modules allow any wall powered devices to be easily plugged in and sequenced by CrudBox.

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Close-up of one of the relays

In order to control a turntable, the switch at the top left hand side of the CrudBox must be pointed toward the turntable one wants to start.

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Knob on the top left side of the CrudBox

The sequences are controlled by the bottom row of buttons, and the tempo by the knob. The sequences tell the turntables when ...

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Call for Applications

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IRCAM in Paris is seeking applicants for their 2011 cycle. Read more about the opportunity below or visit the original call here. Deadline is September 30th, 2010.

Via the music research residency program, the Department for the Coordination of Scientific and Musical Research seeks to reinforce the interaction between the scientific and musical community by appealing to the computer music community at large. This program offers scholarships to artists and young professionals wishing to take advantage of a period of residency at IRCAM in order to pursue their music research projects in a stimulating collaborative environment.

Each year - via online submission - a limited number of candidates is selected by a panel of international experts based on the following criteria: project content; scientific and artistic motivation; quality and innovative character of the project; mastery of the technologies needed for the project; demonstrated ability to manage a collaborative research project.

Each selected candidate will benefit from a residency at IRCAM for a specific period, associated with one or more of the institute’s project teams. The candidate will receive a scholarship of 1200 euros. IRCAM does not cover travel and lodging expenses.

During the research residency, candidates will work in the context of the Research and Development department in order to pursue their work. They will collaborate with members of one or more teams thus enabling them to deepen the musical and technological issues explored through experimentation as well as participate in the intellectual life of the institute.

At the end of their stay, the selected candidates will be asked to document and share the results of their work via written publications and public presentations given to the IRCAM community as well as the international computer music community at large.

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A Roundup of Online Art Radio

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For those long trips you make take this summer - or for those long stretches in front of the computer - I've assembled a massive list of art-related podcasts, online radio stations, and more. I encourage readers to post their recommendations in the comments.

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Untitled (2007) - André Avelãs

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Originally via VVORK

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Untitled (for William Tager) (2006) - Dave Dyment

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A radio for every available frequency in a given space, all tuned to their lowest possible volume.

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Sound Barrier (2006) - Maia Urstad

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SOUND BARRIER is a new work by Maia Urstad, a sound installation consisting of some 130 CD-and cassette radios assembled as a wall. Visually, these devices function as elements in a structure inspired by historical stone constructions

SOUND BARRIER relates to earlier works such as STATIONS; a sound installation deriving its visual basis from the Roman arch; and CLEOPATRA'S NEEDLES; a concert performance inspired by Pharonic Egyptian structures.

The creative impulses for SOUND BARRIER originate in the historical remains of buildings, i.e., ruins. Technology, here, electronics - a development from our own time, comprises the 'stones'.

The CD-and cassette radios in the installation have a double, visual and conceptual function. On an auditory level they are mediating the sound image implemented in the installation. Visually they are the concrete building blocks, the obvious function in the wall, but they also reflects issues related to the technical development and our culture of consumption.

The CD players in the wall are playback units for a composition of electronically treated sounds borrowed from radio waves, Morse code, FM- and satellite radio etc. Sound signals that also will be obsolete and forgotten sooner than we might expect.

-- FROM THE ARTIST'S STATEMENT

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