Michael Connor
Since 2002
Works in Brooklyn, New York United States of America


Artists: Bring Us Your Obsolete Digital Media


Between now and September 8, Rhizome and the New Museum are inviting artists to make free-of-charge appointments at the XFR STN exhibition to transfer their obsolete digital media and videotape to more stable formats, with the help of conservation specialists. Here are five salient facts about the conservation of born-digital materials:

1. Many digital media formats will become nearly impossible to access in the coming years, because the hardware used to access this media is no longer manufactured, and will not last forever. As a result, your digital files will be lost to you, and to posterity.

2. After transfering your digital files to more stable formats, you are under no obligation to share them with us; you will be given the option to transfer them to the Internet Archive, if desired.

3. We are accepting the following digital formats: 3.5” and 5.25" Floppy Disk, Zip Disk, JAZ Disk, Compact Disc, and IDE/PATA hard drives.

4. If you do not want to send your materials to the Internet Archive, you must bring your own storage media. 

5. You can schedule an appointment here.

See you soon!


Apple's Patent on the Pinch-and-Zoom Falls


Thomas Hirschhorn, Bootleg extract from Touching Reality

Yesterday, Engadget and other outlets reported that the USPTO made its final decision to nix a patent filed by Apple in 2007 in an attempt to claim intellectual ownership of a number of touch-screen gestures, including the two-finger "pinch-to-zoom." Melissa Grey reported that "According to documents filed by Samsung in the United States District Court for the Northern District of California on Sunday, [the patent] was found wanting by the USPTO due to it being anticipated by other patents and declared otherwise non-patentable."


Have a Nice Day: Hannah Perry and Bubblebyte Take Over Create London


This week, online art mavens Bubblebyte and artist Hannah Perry launched a "takeover" of the website of Create London, made in collaboration with 25 teenagers from South East London as well as a range of contemporary artists. The takeover will only be on view until 13 September.  

Bubblebyte and Hannah Perry's takeover of the website of Create London.

As takeovers go, it was of the friendly variety. A row of colored, numbered buttons appears at the bottom of the site; clicking on each button brings up a song and a visual response by an artist. The visual responses appear as transparent overlays (sometimes still, sometimes animated) on top of website content. A rotating humidifier (perhaps an oblique reference to cloud computing?) is paired with ominous industrial audio by Paul Purgas. Menna Cominetti splashes a pair of blue tinted shades over the page, set to the ethereal tones of Paul Flannery. For the most part, these works have no explicit relationship with the site's content, but some strange juxtapositions emerge, such as when Andrew Norman Wilson’s images of Martha Stewart appear on top of the words "create jobs." 


Software Takes Command: An Interview with Lev Manovich


Lev Manovich is a leading theorist of cultural objects produced with digital technology, perhaps best known for The Language of New Media (MIT Press, 2001). I interviewed him about his most recent book, Software Takes Command (Bloomsbury Academic, July 2014).

Photograph published in Alan Kay and Adele Goldberg, "Personal Dynamic Media" with the caption, "Kids learning to use the interim Dynabook." 

MICHAEL CONNOR: I want to start with the question of methodology. How does one study software? In other words, what is the object of study—do you focus more on the interface, or the underlying code, or some combination of the two?

LEV MANOVICH: The goal of my book is to understand media software—its genealogy (where does it come from), its anatomy (the key features shared by all media viewing and editing software), and its effects in the world (pragmatics). Specifically, I am concerned with two kinds of effects: 


Sketching Bradley Manning


As the Bradley Manning trial presses on at Fort Meade, Maryland, artist Clark Stoeckley (of Wikileaks Truck fame) documents the proceedings in sketches. So far, the artists tells us he has compiled over 300 drawings from both sides of the gallery, the jury box, and the live video feed. The renderings are set to be published by OR Books in September as a graphic novel, which is an appropriate format for an epic conflict between good and evil. The previews of Stoeckley's graphic novel look very exciting, but what we find most compelling about the project is Stoeckley's commitment to the trial and to Manning, and the mundane details of the process that he captures through his daily practice of drawing and observation.

Day 1 of the trial

 

Captain Hunter Whyte, David Coombs, Bradley Manning

Courtroom observers wearing shirts that read "truth" have been mandated by officials to turn them inside-out.



Discussions (82) Opportunities (1) Events (1) Jobs (0)
DISCUSSION

Caitlyn Jenner and the Facebook Real Name Policy


Yes, I have considered it. However, I'm very excited about our work in dynamic web/social media preservation, and I think this demands that we remain invested in a logistically separate publishing platform, even at the cost of some audiences. The Awl has had really good coverage on this issue recently: http://www.theawl.com/slug/the-content-wars

DISCUSSION

OPPORTUNITY

Birth Rites Collection Bi-annual Award


Deadline:
Sat Feb 07, 2015 23:59

Location:
London, United Kingdom of Great Britain and Northern Ireland

Submissions for our Birth Rites Collection Bi-annual Award are now open!

Artwork can be submitted in any medium.
DEADLINE 7th February 2015.
Entry fee £10

The winner will receive a residency at the Women’s Art Library, Goldsmiths University, London plus a stipend and winning work to be included in the Birth Rites Collection, The University of Salford. Shortlisted artists will have thier work screened digitally at Media CityUK in the Egg Suite in March 2015.

The Birth Rites Collection is the first and only collection of contemporary artwork dedicated to the subject of childbirth. The collection currently comprises of photography, sculpture, painting, wallpaper, drawing, new media, documentary and experimental film. It is housed between the Royal College of Gynaecologists and Obstetricians in London and Salford University Midwifery Department.

Judges: Helen Knowles BRC Curator & Althea Greenan, Women's Art Library, Goldsmiths University, London.
For more info:

http://birthritescollection.org.uk/#/media-city-bi-annual-award/4587224707


DISCUSSION

Bodies on the Line


I fully agree about etiquette w/r/t social media being needed! I think in this case it's particularly complex because no one seems really clear on the object boundary - i.e., whether the social media response should be considered "part of the work."

It's hard not to read "monitoring social media channels" without an Orwellian spin.

Of course, that is exactly what we did by archiving Amalia Ulman's Instagram feed, although everything captured on it is "public" in the sense that anyone can see it, without logging in. In that case, we made the specific decision not to capture her Facebook feed, which has a greater expectation of privacy attached to it. Such archives undermine the contextual integrity of social media, and the balance between this and various arguments for the public value created by non-profit digital archives requires further analysis.

DISCUSSION

Bodies on the Line


I'm dismayed by your suggestion that Ryder is currently being subject to harassment tactics. As we and you and others have pointed out, Ryder is far from the only one of us whose practice has ethically unsound aspects at times, and to continue to demonize him is too easy, and unproductive. To harass him is certainly unconscionable. As Heather said above, we all feel sorry for the distress that we caused Ryder.

I'm also a bit dismayed by your attack on closed Facebook discussions. To argue that every viewpoint, however unpopular, must be expressed in full public view is in effect to advocate for censorship.

Also, two factual corrections.

First, saying that we planned to "monitor" social media is a distortion. We are working on archiving social media, but we're working through the ethical implications of this; I anticipate that this will take the form of working with communities and users and putting tools in their hands rather than "monitoring" them.

Second, you say on your blog that this "started" on private Facebook groups. Maybe, but from my perspective the conversation about 'Art Whore' get going on Ryder's own Facebook thread, not on a private group. (That's the thread that would have been most useful for Rhizome to archive I guess, if the tools had been ready at that time, and if it met our still-evolving ethical guidelines to do so.)

Ryder deleted that thread, and many of the extant criticisms of his project were gone by the time I began writing my article.