Jonathan Vingiano is an internet surfer based in Brooklyn, NY and he graduated from Emerson College in Boston, MA with a degree in Experimental Media. He recently completed a project for JstChillin's "Serial Chillers in Paradise" and will be in an group show opening January 15th at Tompkins Projects in NYC. He is the hype-man of the rap trio LIONSHARE. Jonathan is Rhizome's Technology Associate.
Jo-Anne Green is Co-Director of New Radio and Performing Arts, Inc., a small, not-for-profit experimental arts organization whose current projects include Turbulence.org, Networked_Performance, Networked_Music_Review, Networked: a (networked_book) about (networked_art) and Upgrade! Boston. She is also an artist, writer, curator, and Adjunct Faculty at Emerson College.
Helen Thorington is Founder and Co-Director of New Radio and Performing Arts, Inc. She is a sound artist and radio producer whose works have been aired internationally and received numerous prestigious awards. Helen has also created compositions for film and dance, including the Bill T. Jones and Arnie Zane Dance Company. She has exhibited, performed, published and lectured world-wide.
Five 2009 projects that deal with the translation of online experience into environments, events, artifacts and performance.
► World Series of
'Tubing - Jeff Crouse & Aaron Meyers
The everyday action of "favoriting" online media is expanded into a participatory game show (video above). A pair of contestants square off by selecting viral videos from YouTube and this media is "played" in an augmented reality card game where a live audience determines the victor. (see Paddy Johnson's adventures as a contestant)
► What my
friends are doing on Facebook - Lee Walton
The ubiquitous status update is used to inspire an ongoing series of charming short videos. Banal announcements, everyday routine and the inhabitation of domestic space make for surprisingly entertaining vignettes. (see Walton's vimeo channel to access the entire series and Marisa Olson's writeup from February)
PoD - Cati Vaucelle, Steve Shada and Marisa Jahn
An architectural testament to the "shut in" tendencies within MMORPG culture, this project creates a playspace that addresses the needs of the player and their avatar. A built in toilet, cookware and food dispensers are hardwired into the World of Warcraft interface underscoring the dedication/obsession demanded by these types of online communities. (See the video documentation of the piece)
Built For 2,000 - Aaron Koblin and Daniel Massey
Updating the 1962 experiment in speech synthesis by John Kelly, Max Mathews and Carol Lockbaum, this project employs the Amazon Mechanical Turk webservice to outsource the production of molecular elements of the song Daisy Bell. The resulting 2,088 voice recordings are reassembled into a strange, bumbling chorus - is this what the future of labor sounds like? (see Peter Kirn's analysis)
► Are you
human? - Aram Bartholl
Riffing on the scrambled aesthetics of the CAPTCHA challenge-response test, this project creates real world artifacts out of online protocol. These text objects are deployed in the gallery, as identity document business cards and (most interestingly) on the street amongst the "urban markup" of tagged surfaces.(see photographs of the sculptural objects in the gallery and out in the wild)
Artist Cory Arcangel was recently interviewed by Motherboard TV. The short clip walks through many of his most well known projects, like Super Mario Clouds (2002) and Drei Klavierstücke op. 11 (2009), with additional commentary by Arcangel.
The poor image is a copy in motion. Its quality is bad, its resolution substandard. As it accelerates, it deteriorates. It is a ghost of an image, a preview, a thumbnail, an errant idea, an itinerant image distributed for free, squeezed through slow digital connections, compressed, reproduced, ripped, remixed, as well as copied and pasted into other channels of distribution.
The poor image is a rag or a rip; an AVI or a JPEG, a lumpen proletarian in the class society of appearances, ranked and valued according to its resolution. The poor image has been uploaded, downloaded, shared, reformatted, and reedited. It transforms quality into accessibility, exhibition value into cult value, films into clips, contemplation into distraction. The image is liberated from the vaults of cinemas and archives and thrust into digital uncertainty, at the expense of its own substance. The poor image tends towards abstraction: it is a visual idea in its very becoming.....
......The circulation of poor images creates a circuit, which fulfills the original ambitions of militant and (some) essayistic and experimental cinema—to create an alternative economy of images, an imperfect cinema existing inside as well as beyond and under commercial media streams. In the age of file-sharing, even marginalized content circulates again and reconnects dispersed worldwide audiences.
For anyone who has found pleasure in the dancing, drinking, and melancholy of Mark Leckey’s collage films—or the witty lyrics of his bands, JackTooJack and the defunct donAteller—it was a surprise when the British press labeled his work esoteric and over-intellectualized following his receipt of the Turner Prize last year. Perhaps the work featured in the exhibition of nominees, Cinema in the Round, lost something in the translation from a performance to a gallery installation. Leckey’s staged lecture wove Felix the Cat, Philip Guston, and The Titanic into an idiosyncratic history of art and film. Mark Leckey in the Long Tail, a new talk that premiered at the Institute of Contemporary Art, London earlier this year, takes the same approach and extends his argument into the twenty-first century, using examples and props to visualize how an internet-based economy has changed distribution, demand, and creativity. Its U.S. premiere, organized by the Museum of Modern Art, will take place at the Abron Arts Center on Oct. 1, 2, and 3. - Brian Droitcour
In 1996, when my family got a modem and signed up for AOL, my hours of nightly screen time shifted from television to the computer. After leaving for college, I never had a television set in my home—at least not one that’s good for anything more than playing DVDs—and for me television has become a prop associated with certain locations: the ambient CNN in airports, or the numbing luxury at my parents’ house that allows me to surf an easily navigable set of discrete elements, rather than choosing what to view by picking keywords and clicking metonyms.
Antoine Catala feels roughly the same way about television, as I learned on a visit to his studio this summer, and “TV Show” his upcoming solo exhibition at 179 Canal, a new artist-run space in downtown New York, is about television’s slow demise—a phenomenon felt acutely this year as broadcast signals were converted to digital, befuddling one of television’s biggest audiences, the elderly. Catala’s comic-strip paintings of screen stills, which he dashed off quickly with glances at the television, underscore television’s identity as an industrial product, far slicker than anything one person can make alone and produced using templates. His translucent paintings on working television sets also highlight the conventions for arranging shots, as faces and settings of the broadcast form repetitious patterns around his overlaid additions. TV Blobs manipulate live feeds to make distorted, fluid three-dimensional graphics. Catala treats both the television set’s physical mass and the broadcast stream as readymade sculptural material, positioning both form and content as artifacts of the industrial age in a world that’s moving on to something else. “TV Show” opens tonight at 7:00pm.