Jonah Brucker-Cohen
Since the beginning
Works in Brooklyn, New York United States of America

Jonah Brucker-Cohen, Ph.D., is an award winning artist, researcher, and writer. He received his Ph.D. in the Disruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is the Director of the Digital Humanities MA program and an Assistant Professor of Digital Media and Networked Culture in the department of Journalism, Communication, and Theatre at Lehman College (City University of New York – CUNY).

He has taught as adjunct assistant professor at Parsons MFA in Design & Technology and Parsons School of Art, Design, History, and Theory (ADHT) from 2010 to 2014. He has also taught in the Media, Culture, Communication dept of NYU Steinhardt School of Culture Education and Human Development (2009, 2010, 2011). He has also taught at NYU’s Interactive Telecommunications Program (ITP) (2007, 2008), and Trinity College’s MsC in Interactive Digital Media (2003, 2004). From 2001-2004 he was a Research Fellow in the Human Connectedness Group at Media Lab Europe and from 2006-2007 he was an R&D OpenLab Fellow at Eyebeam Center for Art and Technology in New York City. He received his Masters from ITP in 1999 and was an Interval Research Fellow from 1999-2001.

Jonah’s work and thesis focuses on the theme of “Deconstructing Networks” which includes over 80 projects that critically challenge and subvert accepted perceptions of network interaction and experience.

He is co-founder of the Dublin Art and Technology Association (DATA Group), recipient of the ARANEUM Prize sponsored by the Spanish Ministry of Art, Science and Technology and Fundacion ARCO, and was a 2006 and 2008 Rockefeller Foundation New Media Fellow Nominee. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Neural,, Art Asia Pacific, Gizmodo and more, and his work has been presented at events and organizations such as DEAF (03,04), London Science Museum (2008), Future Sonic / Future Everything (2004, 2009), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06,09,12), Institute of Contemporary Art in London (04), Tate Modern (03), Whitney Museum of American Art’s ArtPort (03, 12), Ars Electronica (02,04,08), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA – NYC)(2008),San Francisco Museum of Modern Art (SFMOMA) (2008), and Palais Du Tokyo, Paris (2009). His work has been reported about in The Times, The New York Times, Wired News, Make, Boing Boing, El Pais, Gizmodo, Engadget, The Register, Slashdot, NY Post, The Wire, Rhizome, Crunch Gear, Beyond the Beyond, Neural, Liberation, Village Voice, IEEE Spectrum, The Age, Taschen Books, and more.

He has given lectures about his work at locations and venues such as Intel Corporation, School of Visual Arts, Ars Electronica, Canadian Consulate, NYU, UCLA, USC, San Jose State University, ISEA 2002, 2004, 2006, 2012, University of Buenos Aires, Institute of Contemporary Art London, Transmediale, Universität der Künste Berlin, Tate Modern, Oslo National Academy of the Arts, Urbis Manchester, CCCB Barcelona, Open Hardware Summit, Contemporary Art Museum Belo Horizonte, Brazil, The Banff Centre, Brown University, Carnegie Mellon University, Rhode Island School of Design, Maker Faire, Royal College of Art, Royal Library, Copenhagen, Denmark, Eyebeam, Anderson Ranch Arts Center, Pratt Institute, and more.

Art in Your Pocket 4: Net Art and Abstraction for the Small Screen

"The Facets of Obama" created by Jonah Brucker­-Cohen using the Fracture application by James Alliban, 2011

The devices we carry with us can do much more than simply act as communication tools and entertainment appendages. They can also bring us into a growing world of artistic projects that could have never been imagined without their existence.

The recent boom in creative software for the iPhone and iPad now enables artists to remake existing web projects as iOS apps or use the physical world as a canvas for augmented reality, reimagining our physical surroundings through painting and rendering. In this article, the fourth one in a series that I've written over the past six years of reviews surveying art for the iPhone and iPad, I cover projects that both revive net art pieces that were once only possible on traditional computer systems or in browsers, as well as those that use the iPhone and iPad's sound and camera capabilities to their fullest.



Thicket:Classic (Hairy Circles mode), 2011, Interval Studios (aka Joshue Ott and Morgan Packard)

Beginning with abstraction and sound, two works examine methods of sound production through algorithmic composition. Thicket (2011) by Interval Studios (programmer and artist Joshue Ott and composer Morgan Packard) is an amalgam of abstract shapes and patterns that engage with touch-based interaction, visual stimulation, generative pattern creation, and mesmerizing sound transference. The original version of Thicket, or Thicket:Classic, feels like a musical masterpiece on the edge of a high precipice. As a user changes the orientation of their phone in four directions (up, down, right, left) the onscreen graphics shift to new modes.

Thicket 3.11 Video, Joshue Ott and Morgan Packard, Interval Studios.

My favorite mode in Thicket:Classic is "Hairy Circles," which features menacing yellow-orangish circles of tangled lines that correspond to each finger's touch and shift when dragged around, creating a machine-like beat that evokes an industrial assembly line. Ott explains, "Thicket uses a bunch of different algorithms—for both audio and visuals. The aesthetic came from repeated experimentation and rapid prototyping of modes. Sometimes we would start with the visuals, sometimes with the audio, but there was often a back and forth process of each of us adjusting our part until we both liked the results."

Locative Media Revisited


Molly Dilworth, 547 West 27th Street (2009). From the series "Paintings for Satellites."

In the early 2000s, as location-aware devices first became commonplace, there was a lot of hype surrounding their potential creative use by artists. However, over time, this initial enthusiasm for "locative media"--projects that respond to data or communications technologies that refer to particular sites--leveled off, even dissipated. Regardless of this drought, geospatial technologies are widely used, and play an important and often unnoticed role in conditioning many aspects of our existence. Responding to this condition of ubiquity, artists have continued to use locative technologies critically, opening up closed systems, making their effects visible, and reconfiguring our relationship with such systems.  

Welcome to Your New NSA Partner Network: Report from Transmediale 2014

We're running our annual community campaign through March 19. Give today!

Photo: Andreas Nicolas Fischer.

A kind of cold weather antipode of summer's "Love Parade," the Transmediale 2014 media arts festival was a beacon of light in the long dusk of a Berlin winter. As a twist on the usual curated exhibition, this year's festival opted for an ad-hoc "Art Hack Day" (AHD) approach, where submitting artists were expected to create new and original artworks in the span of two days (and nights). Opening the exhibition with a more down-to-earth feel, AHD ultimately resembled a DIY, garage-style party instead of a highbrow exhibition space.

Art In Your Pocket 3: Sensor Driven iPad and iPhone Art Apps

 PXL, Rainer Kohlberger, 2012

As the iPhone just celebrated its fifth year on the market, artists have already made a substantial dent in the commercially lucrative world of Apple’s AppStore. Despite this success, artists are still pushing forward to build apps that further integrate with the device’s sensors and location-based capabilities. Rather than working solely within the context of software art as I have covered in two previous articles on the subject for Rhizome, there is a focus now on artists who are interacting with the physical world by using the device’s internal sensors, location capabilities, constant Internet connectivity, and built-in cameras.


“Konfetti”, Stephan Maximillian Huber, 2012


Using the camera as a sensor, “Konfetti” by German based designer Stephan Maximillian Huber visualizes the image of its subject into countless dots. In effect, the camera image is translated into virtual confetti that follows any movement and creates an ever changing images based on which camera is selected. The dot’s movement is correlated to the detected flow captured by the camera and by repelling other dots, which also move as you touch and drag them. Huber explains over email how the app works as a reflection based art tool. “The app started as an iPad-only app, and on an iPad the app acts like a mirror, showing an abstract reflection of yourself. You'll get a clear image of yourself only when you concentrate on the process of the app, and don't move too fast. It's like contemplating about yourself and the image of yourself. And as your thoughts and emotions aren't static the image the app generates is dynamic and adapts to minimal movements and new ...


Art in Your Pocket 2

In the summer of 2009, I wrote an article here at Rhizome about the burgeoning activities of media artists creating new works or updating versions of their older interactive screen-based projects for Apple's iPhone and iTouch mobile devices. As the article made its way throughout the blogosphere, comments surfaced ranging from criticism of the "closed world of Apple's App Store and iPhone devices" to a championing of the availability of inexpensive multi-touch technology now available to artists who had been waiting for a platform that could adequately display and allow for the type of interaction their projects demanded. A year after the article came out, the draw of these devices and their potentially expansive audience has become even more irresistible to artists enough so that several more "apps" have surfaced. The following article catalogs several new iPhone works which have emerged over the past year, works that are pioneering the next generation of portable media art.

Discussions (42) Opportunities (1) Events (2) Jobs (0)

SimpleTEXT: a mobile-phone enabled performance

Hopefully people in the UK can make it out to this!

*a mobile phone-enabled performance*


SimpleTEXT is a collaborative audio/visual public performance that
relies on audience participation through input from their mobile
phones. The project focuses on connecting people in shared spaces by
attempting to merge distributed devices with creative and
collaborative experience. SimpleTEXT focuses on dynamic input from
participants as essential to the overall output. The result is a
public, shared performance where audience members interact by sending
SMS, voice, or through a web-based text input to a central server
from their input devices.

These messages are then dynamically mixed, cut, parsed, and spliced
to influence and change the visual and audio output. These
communications are also run through a speech synthesizer and a
picture synthesizer. The incoming images and text are dynamically
mixed according to specified rule sets such as pixel values, length
of text, specified keywords, and inherent meanings.

Live Events:
BALTIC Center for Contemporary Art
Gateshead, UK
November 27th, 2003, 7pm

Limehouse Town Hall
London, UK
November 29th, 2003, 7pm

City Arts Centre
Dublin, Ireland
Time: 7 pm (GMT)
Price: Free

*All live events are Free*

SimpleTEXT is a collaboration between Jonah Brucker-Cohen and Tim
Redfern. It is commissioned, sponsored and funded by Low-Fi, a new
media arts organization and collective based in London, UK.

Jonah Brucker-Cohen -
Tim Redfern -


Report from E-culture Fair 2003

Report from E-Culture Fair
October 23-24, 2003
Paradiso, DeBalie, Melkweg
Amsterdam, The Netherlands

By Jonah Brucker-Cohen (

Although adding the letter "e" to words like
"culture" might seem a bit too 90s, the 2nd
E-Culture Fair (first was in 2000) lived up to
its name as a comprehensive showcase of over 50
projects, experiences, and performances that
combined the virtual and physical. The fair,
which took place in Amsterdam, was spread over
several venues into three distinct categories
including "My-Mode" (wearable technology and
fashion), "Mobile Home" (networks at home and
dispersed in urban settings), and "Toys4Us"
(gaming and playful interfaces). This fair's
theme centered on "Research and Development" in
new media and took a hands-on approach to showing
work with an eclectic mixture of live demos and
events. Despite the potential brain overload, I
managed to tour most of the venues and even sit
in on several project presentations.

Walking into the newly renovated Paradiso
theatre, My-Mode resembled a hybrid fashion show
turned trade fair. The setup consisted of a wide
range of fashion tech hybrids that emphasized the
integration of technology on the body in
everything from fabric design to reactive
clothing. Taking a playful approach to adverse
weather conditions was Elise Co's "Puddle
Jumper", a raincoat with electro-luminescent
panels that lit up when water fell on the coat.
Also on display was International Fashion
Machines' "Electric Plaid", a panel of interwoven
conductive thread and silk-screened thermochromic
inks that slowly changed colors when electricity
was applied to the thread. This demoed solid
technological know-how, but less interesting
implementation other than some sewn light
switches and pretty wall mounts. On the more
practical side was "Inside/Outside", a series of
networked handbags that measure localized
pollution (smoke, audio, exhaust, etcS) and
connect to each other over an ad-hoc (or
spontaneous) network to exchange data and
aggregate a diary of exposure levels over time.
Focusing on biometric feedback was Sompit Moi
Fusakul's "Interactive Ornaments: Emotions in
Motions" which measured the wearer's heart rate
and transposed this result on kinetic and
illuminated jewelry. Also included was Jenny
Tillotson's "Smart Second Skin", a dress that
emits odors depending on biometric feedback from
the wearer. I got really close and out came a
Whiskey smell which means that either I remind
people of drinking or the day was getting too

Despite the wide array of perspectives presented
in MyMode, there seems to be a continual emphasis
on cause and effect relationships with wearable
technology. Something happens in the environment,
space or activity the wearer is engaged and the
clothing or device acts as a display or
highlights these actions. The next step might be
to look at reciprocal relationships between the
object and the wearer where each plays a crucial
role in each other's development and output over
time. Is it possible to create objects and
clothing that are not only aware of their
inhabitants, but also of each other?

Spread over DeBalie and Melkweg venues, the
"Mobile Home" theme displayed projects that
featured fixed technologies for interacting in
both public and private space. Victor Vina and
Hector Serrano's "NetObjects", were a quirky
collection of networked household objects
including an umbrella that relays weather reports
and a koo-koo clock that displays headlines from
rightist and leftist newspapers. Another
experiment in connected familiar spaces, the
"Remote Home" featured networked furniture in
each building, where sitting on a couch would
trigger a linked couch to boot off the person
sitting in the other space. Despite the playful
interplay with the furniture, questions arose as
to the importance of transposing identity as well
as presence across distance? If you are unsure
that the ambient display is outputting the
movements of your significant other, does that
cause more anxiety than reassurance?

Escaping the confines of indoor space,
wireless-based projects seemed to pervade the
Delivering mobile wireless hotspots was Shu Lea
Chang's "RICHAIR", featuring three wired up
roller skate girls carrying mobile 802.11b
repeaters and mini-computers with embedded
webcams for relaying network connections and
images across town. There was also an emphasis on
the social impact of technology through Doors
East's "Mapping Mobile Phone Usage Among Auto
Rickshaw Drivers", a project examining the
changes mobile technology has had in Bangalore,
India for taxi drivers. The main implementation
would be to create a mobile phone booth by
integrating a pay system into cell phones
integrated into the rickshaws. Finally, Marc
Tuters' "Geograffiti" project envisions a future
of collaborative cartography based on localized
information exchange where public 'digital' space
is annotated with graffiti.

Moving onto the playful side of technology, the
"Toys4Us" exhibit looked at everything from
collaborative DJ scratching and virtual puppetry
to public installations of shared stories. Marcus
Kirsch's "Rashomon" pit video capture with Street
Fighter gaming where visitors' kicking and
punching moves were captured and imported as game
characters into a two-player fighting match. Also
integrating public input was Merel Mirage's
"Holy", a networked vending machine with an
embedded LCD screen that allowed visitors to to author animations and send them to
the display. Also STEIM showed up with some
impressive MIDI instruments and sound experiences
including a pair of headphones with tilt sensors
that sped up beats-per-minute on the audio
depending on how fast you shook your head.

After two full days of demos and talks, questions
arose as to the cyclical nature of information
and interface design. On one hand there is a
trend to build interfaces that encourage social
interaction, but there's also a tendency to
create experiences that discourage chance
occurrences by highlighting personal experience.
There should be a way to balance experiential
design so that it not only allows for
collaboration but also maintains an ambient
presence that blends seamlessly into everyday
activity. This was evident in some of the
projects at the fair, but most had trouble
escaping their categorization. Nevertheless,
events like the E-Culture Fair are great for
encouraging cross-pollination of research and
practice along with showcasing the current state
of the field. By emphasizing interactivity and
the participatory nature of projects, the event
had a distinct science fair-like atmosphere. This
approach succeeded in presenting not only the
latest gadgets and whimsical interfaces to come,
but also the experience of participating in this

-Jonah Brucker-Cohen


Report from Ars Electronica 2003

Hopefully this isnt too late - but for those who missed it (and those
who made it) just thought I'd send out my annual report....

Report From Ars Electronica 2003
Sept 6-11, 2003
Linz, Austria
By Jonah Brucker-Cohen (

Along the banks of the Danube river in Linz, Austria, the world
famous Ars Electronica festival opened with a heavy duty roster of
theorists, performers, artists, and practitioners. This year's theme,
"Code: The Language of Our Time," was meant as a starting point to
examine code and software art's development, aesthetics, and
implications. Debates centered around the question: If code is the
language of technology what does this mean for the future of art
practice? Despite a wide range of answers from participants, the
human side of the equation was ignored. For instance, how do we react
to code? It might sound sentimental, but how does code make us feel?
Machine code might be integral for computers to function, but
ultimately humans dictate their use. I tried to answer these
questions during the six day event, but felt overall that user
experience remained an afterthought to most of the discussions and
exhibited work.

The symposium began with hard-hitting theorists of code and
information visualization. The approach was to emphasize the
framework of the conference topic as existing within a larger body of
work from sociology to political to personal contexts. I arrived on
the second day of the symposium, when an adamant Richard Kriesche
spoke about code as a set of interconnected signs wherein code itself
could be seen as art form in itself. Roman Verostko, an artist and
theorist provided a nice alternative when he presented his graphic
drawing machines built in the 80s as examples of rule-based
sculptures illustrating how changing a single variable in a process
can create infinite and unpredictable behaviors. Following this
presentation, Casey Reas, co-creator of Processing (,
argued that programming languages are materials, like other enabling
media, and that despite their flexibility, they can also be limiting.
His inspiration for Processing stems from the processes of code
executing, rather than the act of writing code, or the code's output.
At the Q&A session after his talk, Andreas Broeckmann (co-curator of
Transmediale) posited to Reas the simple question:"Why do you
program?" Of which Reas replied, "Because I have to". Coding might be
a biologic need for some, but the debate raged on as to how code can
translate from one medium to the next.

Other symposium sessions focused on the scalability of code into new
forms including community and networks to physical devices and
objects. During the "Social Code" panel, Howard Rheingold, author of
"Smart Mobs", spoke about the battle over code where conflict of
ownership ultimately curbs innovation. Florian Cramer disputed the
festival's theme by emphasizing the appropriation of code as art and
how this distinction creates and artificial relationship between code
and language. Looking at biometrics, Fiona Raby, formerly of the
Royal College of Art, threw some humor into the mix by outlining the
"BioLand" project, a virtual mini-mall of bio-metric devices and
gadgets including a human DNA encoded pet pig. Also, Hiroshi Ishii,
professor of Tangible Media at the MIT Media Lab, spoke about
decoding code through physical interaction with objects and how by
creating these dynamic relationships could contribute to a new human
language of collaborative design. Finally Crista Sommerer, artist and
professor at IAMAS in Japan, spoke about her various installations
that attempt to transcend the aesthetics of the machine such as two
haptic squash-encased devices that share people's heartbeats across a
Bluetooth connection.

Escaping the talks for some fresh air, I wandered down to the
exhibition across town. Toned down from last year, the show featured
a wide range of interactive projects from the CyberArts Honorary
Mention category. Walking up the O.K. Center's long concrete
stairwell, visitors were tracked and illuminated by Marie Sester's
"Access", a responsive spotlight that follows your movements as
dictated by online participants. On the first floor, the
Japanese-based musical group/corporation, Maywa Denki's amazing
electronic and human controlled musical instruments were set up,
including several interactive guitars and drum machines with
electronically controlled mallets connected to custom software
running on a PC. Other highlights included the "Biker's Horn" a
saxophone like instrument with flashing lights and multiple tubes and
the "Drum Shoes", wherein the CEO of Maywa Denki wore actuated shoes
with mallets as toes that were triggered by tapping his fingers on
custom built gloves with keys. Down the hall was Daniel Reichmuth and
Sybill Hauert's "Instant City", a block interface based musical
system where visitors could build structures that depending on the
amount of blocks placed triggered different samples. Another simple
yet effective musical interface was "Block Jam", a collection of
small reconfigurable blocks with embedded LED displays that allowed
people to create custom rhythms based on the blocks position,
orientation, and proximity to each other. Finally, in fine contrast
to the high tech installations was Iori Nakai's, "Streetscape", a
pen-based interface that played city sounds as users traced an
embossed map of Linz.

Scattered throughout the main venues were various performances and
special events that kept Ars visitors occupied. The main event was
Golan Levin and Zachary Leiberman's "Messa di Voce", an experiment in
interactive 3D graphics and sound, where vocalists Japp Blonk and
Joan La Barbara's cacophonous utterances came to life amid a giant
triple projection screen backdrop. Instead of focusing on a distinct
theme, the piece felt more like a collection of unique vignettes that
emphasized universal appeal over any distinct viewpoints. On the
music side, Steve Reich's monotonous "Drumming" performance featured
countless percussionists pounding repetitive rhythms in a room of
swirling visuals provided by FutureLab resident artist, Justin Manor.
The last night of Ars featured the bizarre "POL - Machatronic"
performance in the PostHof with actors donning robot exoskeletons
while reenacting a sausage themed love story. Afterwards, the late
night Code Arena at the Stadtwerkstatt pitted programmers against
drunken audiences who voted for the first ever Chocolate Nica Award
presented by Sodaplay creator, Ed Burton.

As the festival ended and all the code was compiled, there still
seemed to be something missing. Despite all the featured examples and
practice of software aesthetics in execution, code as language, input
and output, and modes of representation, there was little discussion
about experiencing the code itself. For instance, who uses all of the
code produced? What are we thinking, feeling, and experiencing when
code is used and what reactions exist in these instances? Although
insight was gained on how producers and theorists of this medium
postulate connections with code to cultural and social phenomenon,
there was little focus on the human response. Ultimately it is this
distinction which makes our experience unique and allows us to
understand the technology we interact with everyday. Perhaps in an
art context this might seem elusive, but the debate seemed incomplete
without uncovering the fundamental source of our frustration and
happiness with code.

-Jonah Brucker-Cohen



+++ Please Forward Around to People Who Might Be Interested++
+++ Below is info on how to join the Mailing List as well +++

When: Tuesday, July 29th, 2003 - 7pm
Where: Stags Head Pub (Upstairs Room), Dame Lane, Dublin, Ireland

DATA 13.0 wont be unlucky! Featuring presented
work by artists/designers Romek Delimata (747-X
Flight Simulator), Niki Gomez (,
Rebecca Allen (MLE, UCLA, Virtual Reality), Short
Film by Aki Aro (AKUMA) + special guests,
screenings/animations and more!!

All D.A.T.A. events are FREE and open to the public!

More info on DATA 13 Presenters:

Romek Delimata
Romek is an artist / motion-picture special
effects designer based in Dublin, Ireland. For
the past five years he has built a homeade 747-X
flight simulator (from the discarded cockpit of
an Aer Lingus Boeing 747) in a shipping container
behind his studio space. The simulator has all of
its original controls and interfaces to an EPIC
capture card and is networked to computers
running a copy of Microsoft Flight Simulator. The
simulator is currently on exhibition at EuroJet
Futures exhibition at the Royal Hibernian
Academy, Dublin. He's also worked on films such
as Braveheart, Behind Enemy Lines, and Flight of
the Pheonix.
exhibit URL:

Niki Gomez
Niki is head of new media arts at Watermans arts
centre, West London which consists of gallery,
theatre and cinema spaces. Previously, she headed
Cybersalon, a monthly independent event at the
ICA, London which brings together digital
artists, business and education to discuss ideas
and showcase new work. Cybersalon has given birth
to Cybersonica - London's only festival of
electronic music and sound art. Niki has an MSc
in Interactive Multimedia and has worked in new
media building web sites, teaching and writing.
Previously Niki worked for the Cybertheatre,
Brussels, the world's first arts venue devoted
solely to digital art- She has
also worked in Brussels in the European
Commission and Parliament in areas of Media and
Human Rights.

Rebecca Allen
Rebecca Allen is an internationally recognized
media artist inspired by the potential of
advanced technology, the aesthetics of motion and
the study of behavior. Her work,
which blurs the boundaries between physical
reality and virtual reality, between biological
life and artificial life, takes the form of
interactive art installations, computer animated
films and live multimedia performances. Allen
received a BFA from Rhode Island School of Design
and MS from Massachusetts Institute of
Technology. She was a member of the Architecture
Machine Group at MIT (now known as MIT Media Lab)
followed by the NYIT Computer Graphics
Laboratory, a world renowned computer animation
research center. She was founding co-director of
the UCLA Center for DigitalArts and founding
chair of the UCLA Department of Design |Media
Arts, where she is currently a professor.

Aki Aro
Aki is a Dublin-based audio-visual artist. He is currently working as a
graphic designer and a music producer. His main interest at the moment is in
digital video and audio production.

AKUMA Synopsis
The past comes to haunt Richard when a data CD is delivered to his door. The
virtual ghost of Hans, a man Richard once set up for a murder, is hungry for
revenge. Hans traps Richard into the virtual-reality world. Richard's fri=
Lynn is trying to trace a strange computer signal with a computer hacker. T=
signal happens to be the very same signal that Hans is controlling. Lynn
becomes Hans' next victim.

Please bring your work to show! We encourage
people to bring projects/ works in
progress/ideas/and any other types of media to
show/perform the night of the event or just think
is cool and think others should know about it!

If you have something specific in mind please
contact us beforehand to arrange for specific
equipment, etc.. Thanks!


Dublin Art and Technology Association
D.A.T.A. Group

The Dublin Art and Technology Association (DATA)
is a group formed with the intention of
promoting, exploring, discussing, and exhibiting
art and technology in Ireland and the world.
Based in Dublin, DATA is built on the idea that
collaboration between artists, musicians,
technologists, and academia is the key element in
creating a rich cultural environment for the
dialogue and conception of technological art
practices. We aim to create an informal space
where art and technology can meet and allow
people from multiple backgrounds to come
together, collaborate, and explore new directions
and art practices.

DATA is dedicated to both showcasing the work of
local technologists, musicians, and artists using
technology as well as providing a meeting point
for the intersection of these disciplines.

Our aim is to encourage collaboration between
group and non/group members and support an open
forum for ideas, practice, and presentation. All
forms of art and tech are welcome for showing at
the group events - from interactive work to
net-based projects to digital video to audio
projects to theatrical performances to
installations - and we will be asking for an open
call for people to present their projects at the
various events and venues around Dublin.

Contact Info:
To Join Mailing List:

Jonah Brucker-Cohen (
Nicky Gogan (nicky\

All D.A.T.A. events are FREE and open to the public


Report from User_Mode Symposium

Report from User_Mode
Emotion and Intuition in Art and Design Symposium
May 9-11, 2003
Tate Modern & London Science Museum, London, UK

By Jonah Brucker-Cohen (

Set in the blood red upholstered venue of the Tate Modern's Starr
auditorium and amid the futuristic light-arrays of the London Science
Museum's Wellcome Wing, the 3-day User_Mode conference on emotion and
intuition in art and design kicked off with a wide array of over 30
speakers spanning disciplines in art, design, textiles, fashion,
research, science, and even osmology. The event's theme centered on
how emotional design and aesthetics intersect digital art practice
and covered everything from audience engagement, subjectivity and
interactive experience, immersion, social ecology, and shared
communication systems over distance. Despite the looming threat of
information overload, the event turned out to be both entertaining,
provocative, and despite a few lapses of focus along panels, created
a positive forum for active discussions to occur.

The opening panel, "Poetics and the Spectacle" began with chair,
David Ross' (Beacon Cultural Project), opening address on the history
of art practice and his belief that despite technological changes in
expressive forms, all art engenders interactive traits. He seemed
adamant about the aging view that designates the artist's role into
one that changes experience into moments of "sublime intimacy" and
that available technology is less important than the time period in
which art exists and reflects upon. Of the presenters, artist Simon
Biggs, who presented Babel, a browser for navigating the Internet
using the Dewey decimal system, favored the term "reader" over "user"
to explain the process of interaction with his work. This approach
was telling when fellow panelist, Masaki Fujihata (Japan) described
his most recent "Field:Work" GPS video mapping project, as a method
of showing how multiple perspectives in location-based systems
creates a greater sense of individual appreciation and understanding
of the work. According to Fujihata, it's not enough to experience the
work from outside, but to also gain new perspectives within. Fujihata
proved this best when he placed five apples on the lectern as a
metaphor for describing abstraction using real objects.

Focusing on the internal nature of "Interactivity & Subjectivity",
the next panel lead by Irene McAra-McWilliam (IA/RCA), spoke about
how the depth of human memory relies on our ability to both to store
and forget information and how this relates to the design of future
human/machine interfaces. Taking no prisoners, RCA researcher,
Brendan Walker gave a sermon-like speech into the phenomenology of
"thrill", examining both the ethnographic question of cultural
dependence on high-risk interfaces and addiction to integrating a
"thrill" quotient into our everyday lives to escape personal
realities. Afterwards, artist Stuart Jones instigated discussion when
he postulated that interactive systems might lose their authorship to
audiences, and that "users" end up being puppets of the author's
predetermined system. This relationship seems to be constantly
changing as artists focus on generative systems of interaction where
the experience itself shifts along with the content of the

The opening day's final panel explored sensory experience and the
body. Speakers included Crispin Jones' pain-based fortuneteller table
to Jenny Tillotson and George Dodd's smell-based wearables featuring
a model walking around the stage with activated shoes and perfume
emitting garments. When Dodd gleefully exclaimed, "We are surrounded
by smells", chuckles filled the auditorium, but his focus was more on
how adding a sense of smell to digital interfaces can augment our
emotional attachment to machines and seemingly banal interactions.

After a long night, and little sleep, day two began on a charged note
with the "Aesthetics" panel which I was lucky enough to participate
in along with fellow panelists Joshua Davis and Lev Manovich. Lev
opened the panel with a humorous and extensive slide show of objects
of representation such as the classic Mac SE and industrial machinery
that signify fundamental shifts in artistic representation through
the last century. In contrast, Davis began with a video of his
self-blinding food coloring antics to illustrate the beauty of
unexpected outcomes and went on to describe his forays into
generative Flash animation systems that create unique outputs based
on simple rule sets. My talk focused on how physical networks exploit
conventional connectivity cliches and covered some of my recent
projects including Desktop Subversibles, which looks at shifting
normal desktop relationships by networking everyday activities like
copy/paste and mouse movements.

Delving deeper into concepts of data visualization and sonification
of virtual environments was the "Immersion and Self" panel, led by
Banff Centre's New Media Director Sara Diamond. Artist Golan Levin
opened the session with his view that immersive experience "thickens"
our point of view while he showed examples of his collaborative work,
"The Secret Life of Numbers", as well as previews of his new
graphical vocalization project, "Mesa Di Vocce". Looking at voice
translation from text to speech over networks, installation artist
Susan Collins described her "In Conversation", which featured a
net-connected mouth projected onto the pavement of a busy sidewalk,
as an open system where the street meets the public space of the
network. Her most recent work on the "Tate in Space" project
amplified this belief that new contexts for artistic mediation add
dimensionality to interactive work. Finally, Selectparks' Julian
Oliver described his work in building custom game engines and levels
that exist both as virtual prosthetics to existing architectures as
well as provide social dimensions to games by associating them with
real locations.

Examining the social ecologies and matrices of interactive art,
another panel featured speakers interested in representation of space
and experience within distinct situations. FoAm, represented by Nat
Muller, explained the contextual theory behind their "TxOom" project
- a collaborative performance held inside an old hippodrome in Great
Yarmouth. Peter Higgins of London's Land Design Studio, explained how
creating projects for public spaces often determines the range and
durability of the piece, while Tobi Schneidler's presentation on the
Remote Home ( was a closer look at the implications of
interactivity within the private context of networked living spaces.
Finally, Natalie Bookchin and Jacqueline Stevens presented their
outline for "Citizen's Dillema", a rule-based political foray into
multi-player online games where citizens are given voting rights to
configure the world. All of these works addressed context, without
which most lose meaning, a danger that digital art often falls victim.

Rounding out the conference, day three took visitors to the London
Science Museum where discussions centered on the collective conscious
of everyday life in networks and communication medium. The opening
presentation was given by a Macintosh II computer's text to speech
interpreter while Arthur Elsenaar sat still with electrodes connected
to his face. By sending electrical pulses to his cheeks, the computer
could theoretically control his facial expressions. Juxtaposing this
idea of computer mediated emotion to siphoning human emotion through
connected, abstract objects, was the Faraway Project's use of
connection relationships to illustrate methods of intimate distant
interaction. Lastly, Anthony Burrill of, added some
non-sequitor examples of how simple models of complex systems can be
emotional when he played a spliced and note separated version of "Hey

As User_Mode concluded, it became clear that the true value of
emotional connections with technology and interface is whatever
personal experiences can be brought to the surface through this
interaction. User_Mode represented a collection of innovative
cross-disciplinary speakers attempting to answer the fundamental
question of whether or not technology exists to improve the overall
quality of life. Fundamental questions still remain for debate such
as: How do we connect human experience to technology? How do social,
cultural, geographical, individual and global differences affect how
we interact emotionally with each other ,the technology we use, and
our everyday experience? Can the technological artist be an important
instigator in this debate? We may never agree, but ultimately, events
like User_Mode help to establish discourse that attempts to include
all disciplines by deconstructing cultural production into its most
basic forms.

-Jonah Brucker-Cohen (