Christina McPhee
Since the beginning
Works in United States of America

PORTFOLIO (5)
BIO
Christina McPhee http://christinamcphee.net
Discussions (160) Opportunities (2) Events (30) Jobs (0)
DISCUSSION

Re: live at Paula Cooper


really beautiful, Eric..\his piece has progressed some since the
spring, hasn't it?
christina
On Aug 7, 2005, at 8:33 PM, Eric Dymond wrote:

> http://web.idirect.com/~artseen/door.htm
>
>
>
>
> well, this is test,
> the AI work is evolving nicely
> +
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> 29.php
>

DISCUSSION

August on -empyre-: Wearable Technologies


August on -empyre- soft-skinned space: Wearable Technologies

with guests Heidi Kumao, Katherine Moriwaki and Florian 'Floyd' Mueller

This month on -empyre-, we venture into the world of wearable
technologies in the context of social and public art practice.
Katherine Moriwaki (US) is an artist and researcher investigating
clothing accessories as the active conduit through which people
create network relationships in public space. Florian 'Floyd'
Mueller (AU) designs interfaces that deliberately require intense
physical effort to facilitate social connectedness between remote
participants. Heidi Kumao's (US) incisive feminist practice
currently investigates the RFID tags that industry is adopting for
product tracking, the government for border control and public
libraries for automatic checkout.

Join us at

<http://www.subtle.net/empyre>

August guest biographies:

----------------------> Katherine Moriwaki is an artist and
researcher investigating clothing and accessories as the active
conduit through which people create network relationships in public
space. After receiving her Masters degree from the Interactive
Telecommunications Program at New York University's Tisch School of
the Arts, Katherine co-developed and taught the ground-breaking
collaboration studio "Fashionable Technology" at Parsons School of
Design. Currently a Ph.D. Candidate in the Networks and
Telecommunications Research Group at Trinity College Dublin, her work
has appeared in IEEE Spectrum Magazine, and numerous festivals and
conferences including numer.02 at Centre Georges Pompidou (02), Break
2.2 (03), Ubicomp (03,04), eculture fair (03), Transmediale (04), CHI
(04), ISEA (04), Ars Electronica (04), Wired NextFest (05), and
Siggraph (05). She is a 2004 recipient of the Araneum Prize from the
Spanish Ministry for Science and Technology and Fundacion ARCO.
<http://www.kakirine.com>

----------------------> Florian 'Floyd' Mueller is a Principal
Scientist in the ICT Centre, leading the "Connecting People" group at
CSIRO - Commonwealth Scientific and Industrial Research Organisation,
Australia. His research interests are in novel interfaces that help
people to connect, to media as well as to other people, creating a
more seamless connection between humans and technology. He proposed
the concept of Exertion Interfaces: interfaces that deliberately
require intense physical effort to facilitate social connectedness
between remote participants at <http://exertioninterfaces.com>
Mueller earned his first degree in Digital Media from Furtwangen,
Germany. He received his second degree in Multimedia from Griffith
University in Australia and a Masters degree in Media Arts and
Sciences from the MIT Media Lab in Cambridge, USA. He has worked for
industry and research companie such as Virtual Artists, Springer
Verlag, Xerox PARC, FX Palo Alto Laboratory MIT, University of
Melbourne and Media Lab Europe. Floyd's research centers on the
challenge of creating an interface that is engaging and fun, not
simply functional. <http://floydmueller.com>

------------------------> Heidi Kumao is an artist who dissects
ordinary social interactions using new media and animation, kinetic/
electronic sculpture, and performance art. Her work takes the form
of intimate robotic/kinetic installations, single channel videos and
animations, and wearable electronics. She uses technology to address
feminist issues and insert a femal point of view into the world of
high-tech innovation. 'WiredWear

DISCUSSION

Re: Re: Re: Re: Re: what exactly IS new media?


>
> no design is also design.
>
> "Letting go" of design is at once one of the hardest and most
> unnatural things to do, yet can often elicit rewards far greater than
> had we put our mind to something. Any ideas on how to encourage this
> "liberation"
> from art/design?
> +

The 'liberation' from art/design ... comes when you dwell and work in
what Louis Kahn called 'volume zero'......
everything flows from this

thanks for posing such a great question...

more from Kahn:

'I have learned that a good question is greater than the most brilliant
answer. This is a question of the measurable and the unmeasurable.
Nature, physical Nature, is measurable. Feeling and dream have no
measure, have no language, and everyone's dream is singular. A man is
always greater than his works because he can never express his
aspirations. To express oneself in music or architecture, one must
employ the measurable means of composition or design. The first line on
paper is already a measure of what cannot be expressed fully. The first
line on paper is less. Turn to feeling and away from thought. In
feeling is the psyche. Thought is feeling and the presence of order.
And order, the molder of all existence, has of itself no will to exist,
no Existence Will. I choose the word "order" instead of "knowledge"
because personal knowledge is too little with which to express thought
abstractly. This Existence Will is in the psyche. All that we desire
to create has its beginnings in feeling alone. This is true for the
scientist; it is true for the artist. But to rely entirely on feeling
and to ignore thought would mean to make nothing. When personal
feeling transforms itself into religion (not a religion but the essence
of religion) and thought becomes philosophy, the mind then opens to
realizations- realization, let us say, of what the Existence Will of
any particular architectural vision of spaces may be. Realization of
this nature is the merging of feeling and thought when the mind is in
closest rapport with the psyche, the source of what a thing wants to
be. It is the beginning of form. Form encompasses a harmony of
systems, a sense of order, and that which characterizes one existence
from another. Form has no shape or dimensions. For example "spoon"
stands for a form having two inseparable parts, the handle and the
bowl, whereas "a spoon" implies specific design made of silver or wood,
big or little, shallow or deep. Form is what. Design is how. Form is
impersonal, but design belongs to the designer. Design is prescribed
by circumstances

DISCUSSION

Fwd: RHIZOME_RAW: Just added to the Rhizome ArtBase: Soda Lake Drawings by Christina McPhee


Hi all,
my server crashed when this announcement went online a few days
ago...from all of the requests for the streaming video. It is a big
one, 83 mb so of course you need a fast connection. Thanks to everyone
who tried to see the work! Since then, we've upped the bandwith on the
server, so if you couldn't see the video before, please have another go
and maybe the server can take the heat this time.

best wishes

Christina

<http://christinamcphee.net>

Begin forwarded message:

> From: "Rhizome.org" <artbase@rhizome.org>
> Date: Wed May 18, 2005 9:05:42 AM US/Pacific
> To: list@rhizome.org
> Subject: RHIZOME_RAW: Just added to the Rhizome ArtBase: Soda Lake
> Drawings by Christina McPhee
> Reply-To: "Rhizome.org" <artbase@rhizome.org>
>
> Just added to the Rhizome ArtBase ...
> http://rhizome.org/object.rhiz?32981
>
>
> + Soda Lake Drawings +
> + Christina McPhee +
>
> Soda Lake Drawings is a very personal work in that I wanted to echo
> the performative aspect of drawing field notes in a desolate
> landscape, within a visual and sonic layered field, where documentary
> and ambient sound and vision mix with deep layers of invented and
> imaginary emotional memory. Drawing the landscape is landscape
> drawing human as much as the other way...there is a blurred boundary:
> whose thought comes first-- the numinous language of strong motion
> data streaming continuously (if one measures it) , the performative
> act of drawing in and of that space and place --- and what does the
> memory document, this film, try to save or record? Nothing but, the
> enduring presence of an unfathomable depth of field, and the
> evanescent moment of engagement at arbitrary points in that depth of
> field.
>
> + + +
>
> Biography
>
> Born in Los Angeles, Christina McPhee is an multimedia artist with
> studios in downtown LA and in the central coast of California, where
> her art practice in painting, multimedia, and sound art extends
> conceptual strategies in data and landscape, and to architectural
> design education. She studied literature, art history and philosophy
> at Scripps College, Claremont; painting and printmaking at Kansas City
> Art Institute (BFA valedic) and painting at Boston University (MFA). A
> childhood on the Great Plains trained her eye towards the subtleties
> of landscape in apparently empty space. Her digitally transformed
> landscapes mesh painterly, architectural and technological detail
> within an atmosphere of chiaroscuro and baroque complexity.
>
> Her current work deals with the technological landscape and
> architectures of desire and memory in new media. She combines
> medium format photography, digital photography, drawing and digital
> video in Carrizo-Parkfield Diaries, an exploration of seismic memory,
> which recently showed in Los Angeles at Transport Gallery (March-April
> 2005), and RX Gallery San Francisco (May-June 2005). Christina McPhee
> works on site at seismically active zones in central California a

DISCUSSION

RHIZOME_RAW: Mark Dery tonight at RX Gallery SF


Thursday May 19th
2005 Rx Lecture Series with
MARK DERY

<http://rxgallery.com>

The Sexual Grotesque: Pomosexualities and Robopathologies on the Web

Posthuman relationships with the anatomically accurate androids called
RealDolls, extreme bukkake orgies, ultra-violent Japanese hentai
cartoons: Depending on your perspective, the Web is a libidinous
interzone---a torture garden of unearthly delights---or a sinkhole of
depravity. What are we to make of the runaway proliferation of
fetishism, in the Web age? (Tentacle rape, anyone? Decapitation
fantasies? Amputee worship?) Is fetishism becoming the default modality
of our post, post, postmodern sexuality? If so, is it transgressive or
repressive---one more example of the iron cage of techno-industrial
rationale constricting our desires, or an inspiring example of
subcultural sensibilities rebelling against normative notions of
sexuality? As well, what are we to make of the Web-enabled
"democratization of exploitation": the niche-marketing of nonstandard
body types that, ironically, realizes the feminist dream of dethroning
normative notions of beauty by peddling the flesh of the morbidly obese
and the mind-crushingly ugly. Does this stuff subvert the Beauty Myth?
Or is it simply extending its exploitative logic to the far margins of
society? "Sex organs sprout everywhere," wrote William S. Burroughs, in
Naked Lunch. Even as the self-appointed morals czars of the Bush
administration try to childproof the Web, exotic new toadstools spring
up in its danker corners. In The Sexual Grotesque, I'll examine the
Newtonian physics of our culture---the equal and opposite reactions of
official culture and the Web's sexual underworld.

7:00pm doors / 8:00pm lecture / 21+UP
$10 / $5 with student ID
Seating is Limited

CURRENT EXHIBITION
Christina McPhee
recent work
Seismic Memory
May 12 - June 8
Gallery hours : Wednesday - Saturday 12pm-5pm, or by appointment by
calling (415) 756-8890. Bar opens at 5pm Thursday-Saturday.

Rx Gallery
Realspace, LLC
132 Eddy Street @ Mason Street
San Francisco, CA 94102

1 Block west of Powell Street BART
Gallery Phone:
415-474-7973 (RXSF)

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Subscribers to Rhizome are subject to the terms set out in the
Membership Agreement available online at http://rhizome.org/info/29.php