Mesocosm (Northumberland, UK), Fall (2011), Flash standalone application
You describe your work as making psychological narratives about humans and their relationship to animals, plants, and the weather. It might seem surprising that this relationship to the natural world is depicted via computer animation. How do you perceive the use of technology in order to describe the natural? What does the computer offer you specifically when thinking about nature or the natural?
All representations employ some form of technology—start with burnt charcoal on cave walls.
Why the computer? Why suck all this electricity out of the wall to make inquiries into the representation of climate change? Why pick animation, which is a most unnatural form? There are tools and aesthetic choices that I naturally gravitate towards—in this case, scalable vector graphics that I can make move.
My work started as pictograms and cartoons, leveraging the language of signage and the cute, because cartoons and info graphics are sly. Animation has freedom from verisimilitude, and warrants the fantastic. I’ve remained interested in making work that leaves you (and me) unsure if it’s clip art or hand-drawn, work that sits between the handmade analogue and the digital.
Much of the work I make is keyed to internet research, obscure stories, contradictory data, and highly circulated media. The Poster Children was made in 2007 when the polar bear became the poster child for global warming (Al Gore’s An Inconvenient Truth) and the poster child (again) for the cutest (Knut, born at the Berlin Zoo), and it was also the year of the Virginia Tech shooting which spawned copycat killers’ electronic press kits on YouTube, anti– and pro– gun law campaigning, and racism (questioning whether an Asian has the right to perpetrate this sort of massacre which has historically been ...
E-flux’s book coop is a mobile home for publications from over two hundred art institutions across the world. It will be presented at the New York Art Book Fair, which opens today and runs through the weekend at MoMA PS1. I aksed e-flux for more information about the project:
Costly and often monopolistic approaches to the distribution of art books has resulted in a situation where it has become common for not only the author, but also the publisher to receive little to no revenue for a book's sales. The book coop was initiated as a way to bring together and give greater access to an array of contemporary art publications being produced by museums, foundations, residency programs, artist-run spaces, and universities all over the world. It was formed to offer these publishers the opportunity to make their titles public without having to follow the traditional routes provided by distributors, and to experiment with publishers to create a platform where the responsibilities of distribution and access are shared.
The members of the book coop represent a good majority of the e-flux journal network, a group of over 200 varied contemporary art institutions who print and locally distribute the e-flux journal. When forming the project earlier this year we invited all journal network members to participate. New members of the book coop have been added to the initial group since announcing the project’s presence at the NYABF last week, which is great.
We first presented the book coop at Art Basel this summer as part of the Kopfbau, a larger e-flux project which saw us occupy an old Art Basel office slated for demolition. We took a few of the offices, demolished a couple of walls to make a large rectangular room with wall to wall, almost floor ...
“Cybernetic Guerrilla Warfare Revisited: From Klein Worms to Relational Circuits” In an interview by Felicity D. Scott and Mark Wasiuta for the Summer 2011 issue of GreyRoom, artist and writer Paul Ryan talks about the time he spent working with Marshall McLuhan, the early days of video art, and his work.
“At that moment  I thought of myself as a writer. I was holed up on the Lower East Side of Manhattan with my typewriter, trying to write, and I heard McLuhan on the raso saying, ‘of course, in this electronic age of computers, satellites, radio, and television, the writer is no longer somebody holed up in his garret pounding a typewriter!’ It stopped me cold. I had to find out what this guy was about.”
Ryan gives a fascinating account of video art in the 1960s, from the Howard Wise Gallery, to securing money from the New York State Council for the Arts for video art at a time when no such funding was readily available, and tells the story of meeting the heir to the IBM fortune who admired McLuhan and wanted to give him two Sony Portapaks that both ended in Ryan’s hands to “experiment” with.
Ryan wrote extensively about video art, cybernetics, and technology; his work was then featured in some seminal exhibitions, such as “TV as a Creative Medium” at the Howard Wise Gallery (1969) and “Primitivism in Twentieth Century Art” at MoMA (1984). (Here's a 1969 letter by Ryan to Howard Wise.)
“I would avoid the term visual to describe video. You can see a bottle of perfume, but sight is not the sense it really affects. You can see video images but their effect is primarily kinesthetic or proprioceptive when you see yourself. Video is about perceiving events with the nervous system, not visualizing in a pictorial way.”
16 x 16 Candles, screenshot, (2006)
Transformer Fire (2008) originated online and was then translated to the gallery space for a show at artMovingProjects in Brooklyn. It generated a lot of interest in a past Rhizome blog post. Can you discuss this process of transforming a net art piece into the gallery space?
The Transformer Fire videos were originally posted on a group blog called Spirit Surfers, and the format of the blog limits the size, presentation, and bandwidth. So when I was preparing the video for the show, I optimized it for the screen that Aron would be using, rendering the videos in higher quality and in portrait orientation for a sideways monitor to better fit the vertically oriented stack of 5 videos, and I matched the resolution of the video to the monitor so I could control exactly how things were scaled. The presentation was a bit cleaner and clearer than on the blog.
Your interest in making music led you to design an iPhone music sampler app, and then an app that is an artwork and a musical instrument. Do you follow the development of art apps? Do you think it could become a new distribution channel for art?
I've looked at some art apps, but personally I think games are the best art in the App Store. I think Cookie Dozer Thanksgiving is more visually and mechanically interesting than any art app I've seen. Maybe I'm missing the best art apps because I don't know how to find them. I think that I would be more inclined to say that apps could become a new medium for art rather than a channel. I can't think of a lot of existing art that could be distributed and viewed properly with an iPhone ...
The sixth edition of the New York Art Book Fair is approaching, taking place at MoMA PS1 between September 30 and October 2. At a time when the idea of publishing and the production of print media are constantly discussed, the New York Art Book Fair allows us a yearly survey of efforts in the field of art publishing, as well as the ability to reevaluate and reconsider publishing houses and projects that interest us on a regular basis, and a variety of events, from book signings to lectures and screenings.
The Fair features more than two hundred exhibitors: publishers, magazines, independent artists, art institutions, and distributors. In order to facilitate wandering through this expansive event, we rounded up a selection of publishing initiatives, highlighting those that survey new media art, have a strong online presence, or use technology in interesting ways.
Piracy Project / AND Publishing. Based in London, the Piracy Project is a publishing and exhibition project that organizes workshops, lectures, and open calls for pirated book projects, all directed at creating a platform from which to think about ideas of copying, re-editing, paraphrasing, and so forth.
Badlands Unlimited. Founded by artist Paul Chan, Badlands Unlimited publishes both e-books and physical artists' books. The e-books are interactive and unlike many other art e-books, take full advantage of what the technology offers by including text, images, and films. See Sarah Hromack's interview with Paul Chan here.
Half Letter Press. Initiated by Chicago-based collective Temporary Services, Half Letter Press has an online reading room with some of the best links on the internet, and they publish and distribute books on art and theory.
Eikon is a bilingual German-English journal published in Vienna that focuses on photography and new media art.
Fillip, published in Vancouver, cover critical writing and thinking about ...
I think the meaning of this article is in the conflation of Artsy and e-flux, but nevermind that. Here's the real point: I have no actual interest in criticizing e-flux for its decision to apply to run the gTLD. I'd be happy to do that if they actually win it, and once they start charting out what they'll do with it. In the meantime, my only goal in this piece is to point to some problematics and interests in these two discussions on URLs, branding, art, and money.
About democracy and the internet community: well, first of all, I'm totally unconvinced that some weird democratic taxonomy is the best we can come up with. And in the case of e-flux, I think their time/bank project is an interesting precursor to what may happen with .art. I thought the time/bank had a great chance of being successful because e-flux had a built-in community of people who are interested in alternative economies around it. Instead it's circulating as an artwork and continuous project that is more of an experiment than a real entity. Who knows if .art (which attracted attention via that same e-flux community) won't be the same.
Flux Factory is seeking proposals from game designers, technical wizards, emcees, performers, set designers, house bands, and all manner of mischief makers! We need your help to create iSpy, a live reality show meets stage show spectacle meets video game that combines game design and theater with the topsy-turvy power of networked cameras in public spaces.
The experience will revolve around players carrying networked cameras in public space, beaming images back to the gallery-turned-theater as they compete to finish absurd challenges with the audience’s help (e.g.: corralling strangers to swing at pinatas, in-store scavenger hunts, and impromptu games of Balderdash on the street). The Flux theater will be rigged with cameras and surprises too, turning everyone into unwitting players.
As an interactive and theatrical game experience, this project is not limited to the gallery. The production of iSpy will be highly collaborative, with all invited creators helping to form events open to the public during the last two weekends of April 2012. We need collaborators to make mini-games, elaborate scoreboards, 70’s game show-style sets, spectacular lighting design, and surprising interactions, and we need house bands, emcees, actors, technical crew, facilitators, and much more to make it happen.