As a memorial for the ".yu" domain - subject of conflicts during the war, now switched off as of the end of March 2010 - she developed a series of paper sculptures. They consist of several thousand printed A4-sheets. Stacked, they make a picture appear, showing nationalist Ultras in Belgrade’s football stadium.
The Nam June Paik Center is dedicated to the artistic and intellectual legacy of Nam June Paik, the renowned Korean-born artist who transformed visual art worldwide. In addition to its function as an exhibition space, the Nam June Paik Art Center developed a new publication, NJP Reader. The aim of the NJP Reader is to recontextualize Nam June Paik’s artistic thought and his ‘random access’ strategies in a topical discursive practice. Leading questions are: What is the meaning of Nam June Paik’s multi-medial experiments, performances, and sculpture for our current artistic practice and discourse? What new dimensions for re-imagining notions of technology, ubiquity, and human experience do Nam June Paik’s thinking and practice suggest? How does his practice potentiate paradigm shifts in broader understandings of the potentialities and characteristics of alternative processes of participation afforded by the introduction of media technology into artistic practice?
Obviously, Nam June Paik’s work requires a conceptual framework that goes beyond an art historical narrative. Therefore, for Issue #1, NJP Reader conducts an inquiry into the novel concept of artistic anthropology in art discourse as an invitation to produce new conceptual systems. The NJP Reader intends to be an open platform for generating novel ideas, connections and concepts (this intention is also reflected in choosing to use Nam June Paik’s initials for its title, rather than his full name). To this aim, the first edition of the NJP Reader is based on a questionnaire that as many artists and intellectuals as possible were invited to contribute responses to. Through this conceptual inquiry the NJP Reader hopes to help in creating novel lines of thought and conceptual schemes. For the questionnaire three questions were formulated:
1. Artistic anthropology intends to produce novel models of relationality and connectivity. Could - Nam June Paik ...
Infinite Stream Loop (from the series Laps) (2010) - Art of Failure (Nicolas Maigret and Nicolas Montgermont)
Infinite Stream Loop is an audio stream traveling through the world wide web since the 1st of july 2010
The field of research "Laps" focuses on generating sensible representations of Internet by using it as a broadcasting space. The spatial and geographic properties of the Network are highlighted by broadcasting audio streams that travel and reverberate trough the web. Listening to these audio streams by using specific processes* allows to make audible an infinity of transformations that modify the sound as it circulates on the web. These alterations are comparable to a form of erosion caused by the network space - they are a key to allow different mental representations of this digital topography.
*Very low buffers and no error corrections
PROCESS | A sound is sent out over the network and goes through several locations on the web. Captured at the end of a loop by the original transmitter, the sound is played and then resent out with no additional modification through the web.
SOUND MATERIAL | To emphasize the changes caused by the network, the sound used for the startup is deliberately very simple - pure silence.
SPACE | Similar to a physical & resonant space, the Internet network is here used as a broadcasting space where sound gets more elaborated. The audio signal is modified by the inner properties of the network and becomes an acoustic signature of this space.
ERRORS | The audio transmission process used here allows to keep all the distortions of the original material that occurred during the process (artefacts, transmission errors, missing data...).
TOPOLOGY | The geography of the network is in perpetual motion. Web user's actions have a direct impact on the features of this "resonant space" - the sound that one can hear through Laps constantly crystallises the activity of part of the ...
Katie Paterson is an artist whose work spans installation, sculpture, transmission, and sound. Her work presents the viewer with a deeper sense of the passage of time and the evolution of nature and the cosmos. Technology often factors into this line in her practice, where it is used to bring about an awareness of its own restrictions as well as our limited ability to sense and experience natural cycles and movement. She is currently showing History of Darkness in the group exhibition “Cage Mix” at BALTIC Centre for Contemporary Art in Gateshead, up until September 19, 2010. Her series "Every Night About This Time" also opens this weekend at the Whitstable Biennale.
The imagery and sound in Entering were performed 'live' by Donebauer and composer Simon Desorgher, and recorded in real time, using a colour TV studio at the Royal College of Art. Later Donebauer and Richard Monkhouse developed the Videokalos synthesiser, as an image-sound performance instrument. Entering was transmitted by the BBC in 1974.
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.
Produced by WGBH-TV in Boston, the Medium is the Medium is one of the earliest and most prescient examples of the collaboration between public television and the emerging field of video art in the United States. WGBH commissioned six visual artists Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini to create original works for broadcast television. In pursuing their individual aesthetics, these artists produced works that explored the parameters of the new medium, from image processing and interactivity to video dance and sculpture.
Produced by WGBH. Executive Producer: David Oppenheim. Producers: Ann Gresser, Pat Marx. Director: Fred Barzyk.
Very Slow Scan Television (VSSTV) is a new television format that we have developed building upon Slow Scan Television (SSTV), an image transmission system used by Ham Radio amateurs. VSSTV uses broadcasts from this historic public domain television system and regular bubble wrap to construct an analogous system: Just as a Cathode Ray Tube mixes the three primary colors to create various hues, VSSTV utilizes a plotter-like machine to fill the individual bubbles with one of the three primary CRT colors, turning them into pixels on the VSSTV “screen”. Large television images with a frame rate of one per day are the result, images that take the idea of slow scan to the extreme.
Everything In Heaven Is TV is a Totally Wreck Production Institute Production in association with Channel Austin Public Access. Season One was released and aired during the fall season of 2008. Produced by Amanda Joy, Juan Cisneros, Eli Welbourne, Ben Aqua and Chad Allen, with the ongoing help and support of many like minded artists, salesmen, psychics, cats, psychic cats, and the love of many many confused viewers.
Digital Arts and New Media (DANM) Technical Coordinator