I Love Alaska (2008) - Lernert Engelberts & Sander Plug

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August 4, 2006, the personal search queries of 650,000 AOL (America Online) users accidentally ended up on the Internet, for all to see. These search queries were entered in AOL's search engine over a three-month period. After three days AOL realized their blunder and removed the data from their site, but the sensitive private data had already leaked to several other sites.

I love Alaska tells the story of one of those AOL users. We get to know a religious middle-aged woman from Houston, Texas, who spends her days at home behind her TV and computer. Her unique style of phrasing combined with her putting her ideas, convictions and obsessions into AOL's search engine, turn her personal story into a disconcerting novel of sorts.

-- FROM THE ARTIST'S STATEMENT

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Slim Thug Status Bot (2005) - Cory Arcangel

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Slim Thug Status Bot was a bot RSG and I wrote that would let you know if Slim Thug's album "Already Platinum" had gone platinum yet.......It was located on AIM as "SlimThugPlatinum". I eventually had to take it offline cause it was burning up server and taking up like 99% of the processor. I think it cause got in a bot loop with another bot. (ps - also special thx to michael bell smith)

-- FROM THE ARTIST'S DESCRIPTION

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An Essay About Chillin' - (2009) Caitlin Denny and Parker Ito

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Binary cross-stitch (2004-2006) - Cody Trepte

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"One machine for all conceivable tasks." (2006)

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"Read, write, erase" (2006)

The literal translation of the title into binary then stitched into fabric; black for 0 and white for 1.

-- FROM THE ARTIST'S STATEMENT

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Five Words In A Line (2009) - Peter Nowogrodzki

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Binary Language: A Computer Simulation Lessons 1-3 (2006) - Jesus Aguilar

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Poemfield No. 2 (1966) - Stan VanDerBeek with Kenneth Knowlton

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Computer animation by Stan VanDerBeek and Kenneth Knowlton, made at Bell Laboratories in 1966.

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Murmur Study (2009) - Christopher Baker and Marton Andras Juhasz

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Murmur Study from Christopher Baker on Vimeo.


Murmur Study is an installation that examines the rise of micro-messaging technologies such as Twitter and Facebook’s status update. One might describe these messages as a kind of digital small talk. But unlike water-cooler conversations, these fleeting thoughts are accumulated, archived and digitally-indexed by corporations. While the future of these archives remains to be seen, the sheer volume of publicly accessible personal — often emotional — expression should give us pause.

This installation consists of 30 thermal printers that continuously monitor Twitter for new messages containing variations on common emotional utterances. Messages containing hundreds of variations on words such as argh, meh, grrrr, oooo, ewww, and hmph, are printed as an endless waterfall of text accumulating in tangled piles below.

The printed thermal receipt paper is then reused in future projects and exhibitions or recycled.

-- FROM THE ARTIST'S STATEMENT

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The Open Book

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Last year, Turbulence.org partnered with NewMediaFix, Telic Arts Exchange, and Freewaves to create an online book on interactive and participatory art titled "Networked." The organizers felt writing on this type of art work necessitated a forum that itself was open and interactive, thus they set out to design a site for the publication that would be as dynamic as the work discussed. The "Networked" site, built by Matthew Belanger, is now open for comments, revisions, and translations. Click the below for essays by Kazys Varnelis, Anne Helmond, Jason Freeman, Anna Munster, and Patrick Lichty.

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Printed Pages

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Image: Scan of e-flux journal ad in Afterall

From its beginnings ten years ago, e-flux has been an unconventional media model, one that aggregates and distributes announcements for contemporary art exhibitions and events for a fee and uses its profits to fund artist-directed projects. Last November e-flux introduced an online journal with essays by artists and critics. The advertisement-free publication filled a position similar to that of ads in magazines—an appendage that subscribers to the e-flux brand may or may not find useful. To increase the journal’s autonomy from the announcement service—and also to get it off the internet, which is not a favorable environment for long and complex theoretical essays—e-flux announced its plans for a “print-on-demand” feature in February (noted on Rhizome). To get the word out about this new service, e-flux put excerpts of essays from its fourth issue in the summer issues of Parkett, Artforum, Bidoun, Cabinet, Texte Zur Kunst, Afterall, Flash Art, and Frieze. Besides addressing the obstacles an online journal faces in specialized art media, where print still holds a privileged position, the use of editorial as advertising in e-flux’s summer campaign anticipates the shift that will accompany the launch of their print on-demand service this fall, when the journal’s readers can also become its publishers.

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