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


3 Videos by Hamishi Farah


Surfers' Paradise was an artist residency and exhibition that took place in Melbourne from 1–10 November. Fifteen Australian artists created, documented, and uploaded artworks to the internet over the course of the event. Following are works contributed to the project by Hamishi Farah (who seems to go by first name only); the full selection of works can be seen on the project's Tumblr catalog.

 


This Thursday, A Fresh Start


This Thursday, the Rhizome community will come together in the New Museum Sky Room to re-imagine its future. A future less bound by the nitpicking criticism of the past, the hand-wringing, the self-doubt. This is our promise to you: a profound sense of human connection, an art that can bridge the cultural gaps in an interconnected world, an app for every social problem, a better wave, a more sustainable and democratic glass of champagne. Are you brave enough to come with us on this journey?

Tickets begin at $50 and are on sale here. Follow us on Instagram for continuing updates. 


What's Postinternet Got to do with Net Art?


Courtesy grouphab.it and Harm van den Dorpel.

An extended and altered version of this text will be published in... You Are Here: Looking at After the Internet (Cornerhouse Books 2014), edited by Omar Kholeif.

Earlier this month, Rhizome presented a panel discussion at the ICA in London titled "Post-Net Aesthetics." Following in the wake of prior panels (titled "Net Aesthetics 2.0") which were organized by Rhizome in 2006 and 2008, this edition was precipitated by the recent discussion of postinternet practices by a number of art institutions and magazines, including Frieze. We invited a longtime Rhizome collaborator, critic and curator Karen Archey, to chair and organize the panel, and what emerged was a wide-ranging and extremely generative conversation in which participants began to articulate some of the shifts they'd seen in artistic practice in recent years, while critiquing those shifts and their framing as "postinternet."


Required Reading: A Closer Look at JODI's 'Untitled Game'


Mute, Vol 1, No. 22 ("The Art Issue"), including CD-ROM of JODI, Untitled Game (1996-2001). 

Rhizome's erstwhile Conservation Fellow, Lisa Adang, has published the results of her material analysis of JODI's Untitled Game (1996-2001), and her findings are both more concrete and more nuanced than much of the extant scholarship.

By way of background, Adang points out that JODI began working with game "modding" around the same time as they began working with the web.

Although they may be best known for their web browser-based works, in this early period, JODI also experimented with the alteration of game code using two hugely popular computer game sources: Wolfenstein 3D (1993) and Quake 1 (1996), both developed by John D. Carmack, John Romero and the team at Id Software based in Richardson, Texas. Wolfenstein is widely recognized as the first fully rendered three-dimensional polygon game environment, a technique that allows objects and walls to appear to wrap around the player's perspective, realistically block the player’s sightline, and recede into a vanishing point that shifts with the main character/player's perspective. Characters within the game are also comprised of polygons, and sprite images occur on instances such as the firing of a weapon, scaling to suggest proximity and perspective.


Collecting Contemporary Art Means Collecting Digital Art


Petra Cortright. RGB,D-LAY, 2011. Webcam video file. Edition of 5. 1 AP. Courtesy of the artist and Steve Turner Contemporary, Los Angeles. 

Last night, Rhizome was the beneficiary of the Paddles On! auction at Phillips auction house. Curated by Lindsay Howard and co-organized by Phillips and Tumblr, the auction brought together works under the banner of "digital art." While the sale of artworks that engage with digital technology is nothing new, there was something remarkable about the scene last night. Magda Sawon tweeted that it was "like parents forgot to lock the house & the kidz had a great party!" (She also added, "One day it may be their house or they burn it," but that's just typical gallerist-auction house repartee, we're sure.) Every lot was sold, and perfectly-coiffed bidders competed not only over digital prints, sculptures, and Petra Cortright's digital painting, but also over Jamie Zigelbaum's interactive installation and Rafaël Rozendaal's website. Rhizome was the grateful beneficiary of this frenzied activity; we received 20% of the proceeds, with the other 80% going to the artists, and when the last gavel fell, nearly $18,000 had been raised on our behalf, which will help us continue to expand our efforts to commission, contextualize, and conserve technologically-engaged artwork.



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DISCUSSION

Feed my Feed: Radical publishing in Facebook Groups


Not really - but I'm using the term public utility in the usual sense of a body that provides something like water or gas to the public, but may be privately or publicly owned. (A NYC example: Con Ed).

If we're talking about publicly owned utilities, then yes, that is something different. I am really interested in the idea of software as publicly owned utility--this is something that was discussed at our recent event with Airbnb Pavilion.

It would be great to see more sharing "economy platforms" run as public utilities, since those often have a very direct economic impact on a city. My sense is that Facebook would be kind of a poor use case for public ownership - but it is interesting to think of as a public utility in the sense of a private company that provides public infrastructure & service and therefore has some level of public accountability.

DISCUSSION

Feed my Feed: Radical publishing in Facebook Groups


The other consideration I raised was whether the profile was being used for publicity purposes. The larger point there is that not all contexts are created equal, and so violating their integrity can be more or less justifiable.

Again, not commenting on the specific situation but rather the general case: there is a difference between communication that takes place via a profile that is only shared with close friends and the communication that takes place via a profile that is shared with journalists and used for publicity purposes. In the latter case, the contextual integrity violation could be much easier to justify even if the public interest case is relatively weak.

DISCUSSION

Feed my Feed: Radical publishing in Facebook Groups


It is a mistake to rely too much on what is technically public or private to guide decision-making about whether to respect the contextual integrity of any communication. Hilary Clinton's emails as Secretary of State are technically private, but have no legitimate claim to remaining so. Many Facebook users might accidentally set posts to "public," without intending for them to be shared widely. And even users on the very public Twitter have felt violated, and perhaps rightfully so, when their posts were shared onto other platforms.

Another term I like, since public and private get quite fuzzy, is "contextual integrity," as articulated by Nissenbaum. The idea there is that communication is often intended for a specific context, and when it remains only in that context, then it has integrity. When it is moved to a different context, that integrity has been violated.

A blog posting a screenshot of an artist's Facebook post would certainly be a violation of the artist's contextual integrity--but that doesn't mean it's always indefensible. There might be a strong public interest argument to share the post, and blogs have a responsibility to their publics which might outweigh this consideration. If an artist uses social media as part of the publicity surrounding a work, that might even be crucial for understanding the work, then that also could make it more OK to share.

These questions are very important for our current dynamic web archiving efforts...very tricky stuff.

DISCUSSION

Feed my Feed: Radical publishing in Facebook Groups


Your examples of the "missing" sense of the term public are all spaces. A more apt analogy for Facebook would be a public utility. Public utilities can be privately owned or publicly owned, they are not necessarily characterized by "mutual ownership" - only by public oversight. And such oversight is only likely to emerge through the organization of users themselves, very possibly with the platform itself as an organizing tool.

DISCUSSION

Feed my Feed: Radical publishing in Facebook Groups


Thank you for doing such a good job illustrating the impoverishment of commenting culture outside of Facebook! You really captured the patronizing tone of a commenting demographic that feels its relevance waning in the age of social media. What were your inspirations for this pastiche?