Alexander Galloway
Since the beginning
Works in New York, New York United States of America

PORTFOLIO (2)
BIO
Alex works with RSG. Projects include the surveillance tool "Carnivore," "Low Level All Stars" a DVD collection of C64 intros, and the computer game Kriegspiel.
Discussions (75) Opportunities (0) Events (0) Jobs (0)
DISCUSSION

Re: chronos [chess_w/_death remix]


does anyone remember the project .. i want to say "RGB Clock" .. with
three panels of color, and the three colors were tied to hours, minutes
and seconds? i can't find it via google.. -a

On Jan 30, 2005, at 11:41 AM, Curt Cloninger wrote:

> http://www.sequences.org.uk/chrono/0115.html
> http://yugop.com/ver3/index.asp?id$
> http://restlessculture.net/seance/
> http://yugop.com/ver3/index.asp?id=3
> http://skylash.com/charlie/elliott_at_theoscars.mov
> http://www.lares.dti.ne.jp/~yugo/storage/monocrafts_ver3/29/bclock.html
>
> the slow motion moves me
> the monologue means nothing to me
> _
>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is open to non-members
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/29.php
>

DISCUSSION

Fwd: [mediaecol-grads] Fwd: diversity and media/technology (Global Blackness and the Digital Public Sphere)


[not sure if this was already forwarded to rhiz...]

>>>> ---------- AfroGEEKS Conference Call for Papers ----------------
>>>>
>>>> Please distribute widely
>>>>
>>>> CONFERENCE CALL FOR PAPERS: DEADLINE / FEBRUARY 21, 2005
>>>>
>>>> AfroGEEKS: Global Blackness and the Digital Public Sphere
>>>>
>>>> The University of California at Santa Barbara (UCSB) Center for
>>>> Black
>>>> Studies is convening our second AfroGEEKS conference on the UCSB
>>>> campus
>>>> from May 19-22, 2005.

DISCUSSION

The Mario Movie


[This text accompanies the publication of the source code to "The
Mario Movie," opening at Deitch Projects in New York this Saturday
January 15th. Cory Arcangel also has a second show opening this
Thursday at Team gallery in New York. -ag]

"The Mario Movie," Deitch Projects, New York City, January 2005

Cory Arcangel (Beige) and Paper Rad

This is a group effort, so let me first introduce the principle actors.
Paper Rad: Benjamin Jones, Jacob Ciocci, and Jessica Ciocci. Beige: Cory
Arcangel, Paul B. Davis, Joe Bonn, and Joe Beuckman. They work in
collectives for the same reason that punks play in bands: it's funner
that way, and it's easier to make more noise. There is the
Lennon/McCartney question of who is responsible for what, and I can't
make head nor tails of it. But from what I know Ben and the Paper Rad
kids have a shameless affection for dirt-style, fan fiction comics about
Garfield and Howard the Duck. And then there's Paul who I am told once
entered the DMC turntable competition under the DJ name "Spin Laden."
(He advanced through the opening heats, a challenge in itself, before
being thrown off for scratching in the Notorious B.I.G. lyric "Time to
get paid / blow up like the World Trade.") The clothes that the Paper
Rad kids wear they sew themselves. Cory wears them too, I think, when
he's not wearing pizza-shaped animal pullovers knit at home with his
other chums. And on more than one occasion, I've been present when,
sauntering past a stray guitar, in a Kmart aisle or friend's house party
it doesn't matter which, Cory has spontaneously tapped out the full
arpeggios of Eddie Van Halen's "Eruption" with ten fingers at full
frills. Then there was the music performance in Brooklyn when the Paper
Rad three sat cross-legged on the floor performing a pretend recital on
some Sony "My First Laptops," while the music was droning on prerecorded
throughout. I thought electronic music was the one thing you didn't have
to lip-sync? Oh well. Here's how I understand it: I've done way more
ecstasy than Beige and Paper Rad put together, but they've done way more
acid. And that makes all the difference. As Ben scribbled in a comic
once, "Can one be tanned at night by stars?"

But it gets weirder: "The Mario Movie," Deitch Projects, New York City,
January 2005. There is not much a rational person can say about a
psychedelic rave fantasy, with messed up graphics, with castles floating
on rainbow colored clouds, with dance parties and raves in underwater
dungeons, all starring Mario the plumber who does little more than weep
through the tumult. And the whole thing plays live off a hand-soldered
video game cartridge. Gosh. But if I may observe one thing it would be
merely the following: this is the real deal. Which is to say that it's
not the real deal. This is computer code. But what you see is not what
you get. To watch the code itself would bore to distraction. Instead
this code runs on a video game console that converts it into sound and
image. The game console is the Nintendo Entertainment System, known
affectionately as "the NES" to every youngster lucky enough to receive
one for Christmas in 1985. (Raised by hippies in Oregon, we were not so
fortunate.) The NES is a magical device, for given the proper code it
can synthesize any sort of video signal from scratch. This is not the
sort of video made with a camera and edited on a computer, mind you. How
do we know? First, the compiled Mario Movie is 32 kilobytes in size, or
about twice as long as the few paragraphs you are reading now. Even
compressed, a ten minute video is roughly a thousand times larger.
Second, the movie runs directly off the customized game cartridge pushed
into the socket of the NES console--without, Cory is keen to observe,
altering the factory-soldered graphics chip shipped on the original '80s
cartridges. "Yo sound the bells / school is in sucker," MC Hammer would
come to say a few years later. "U can't touch this." This is the real
deal.

Because of this, computer art is more like sculpture than like painting
or video. In making the work computer artists actually fabricate the
substrate of the medium, they don't apply things to surfaces or use
prefab tools to move images on a screen. The code is the medium. So in
writing code, and running it, the computer artist builds the work from
the ground up. It's all math and electricity. To engineer the
soundtrack, Cory pokes the audio registers on the NES's chip in specific
frequencies. When he does they chirp. To get the video, he writes
hundreds of lines of code, code like "lda $2002" (translation: load the
value from memory position 2002 into the "a" register in the processor),
or like "jsr vwait" (translation: jump ahead to the subroutine called
"vwait" to stall for a few milliseconds while the television's electron
beam repositions itself). What appears on the screen is the image of
pure data. It is, in a manner of speaking, what numbers look like (if
they could). Translation: this is not video art. Maybe call it math art,
geek art, whatever. The Mario Movie makes tedium profound, and the other
way around.

They say everything becomes interesting in the long run. Super Mario
Bros might be nostalgia to you. But it's not to them. All media is dead
media, that's what Paper Rad and Cory understand. It's all garbage from
the beginning--so don't yearn for a time when it was otherwise. When you
understand media as trash then there is no nostalgia. If there is any
shred of longing that remains in the work, it's not for our childhood
friend Mario. It's for an acid high, for a simulated hiatus in a far off
land that no one has ever been to. It's for watching a cartoon schmuck
trip rather than you. It's nostalgia for raves sucked from the fevered
brains of raver-haters. Everything is as new as it is old. Everything is
as sucky as it is good. This is the movie.

http://www.paperrad.org/
http://www.beigerecords.com/cory
http://www.teamgal.com/home.html

DISCUSSION

Fwd: RHIZOME_RAW: BEACON


interesting reply from jon thomson below (forwarded to raw on his
request)....

> From: Jon Thomson <j.thomson@ucl.ac.uk>
>
[...]
>
> Some of the things mentioned here by Michael were in our minds when
> conceiving this work, particularly our desire to contextualise the
> search criteria poetically and also to examine the poetic nature of
> the terms themselves -as a kind of real-time lament or echo actually.
>
> And as alex says it's part of a whole host of stuff artists have been
> doing with search engine data -us also in previous work of our own.
> As artists we're not particularly interested in technical novelty, nor
> do we see it as off-limits to further explore the nature of this kind
> of data just because others have already made things that use search
> engine data flow.
>
> In more than a few cases, Contemporary Art can suffer from
> novelty-lust. Maybe it's some hangover from the Avant Garde? Anyway,
> we would like to think that we are simply contributing to a
> conversation that's ongoing in this nook of the Contemporary Art
> canon. Just as Philosophy seems to extend and extend one long
> conversation, we see contemporary art functioning in the same kind of
> way. We don't see art works taken individually as necessarily
> insular, and in the case of our own art much of it is in dialogue with
> Art History at some level, while configuration is of paramount
> importance to us.
>
> In our minds, 'Beacon' is both landscape and portrait, and it's the
> kind of convergent simultaneous nature of the gesture that interests
> us.
>
> best wishes,
>
> Jon & Alison
>
> -->u/s/
> Thomson & Craighead
> http://www.thomson-craighead.net /
>
> --> w/e/b
> BEACON is now live: http://www.automatedbeacon.net
>
> TWO NEW TITLES @: http://www.templatecinema.com:
> 'A short film about Nothing' & 'FIve Ghosts floating unawares'
>
> --> e/x/h/i/b/i/t/i/o/n/s
> Currently & until Nov 2005: Algorithmic Revolution, ZKM, Karlsruhe,
> Germany
> Currently: Database Imaginary, Walter Philips Gallery, Banff, Canada
> Currently: Pass the Time of Day, Gasworks, London
> Currently: The 3rd Centre of Attention Art Prize, London.
> Currently: dreaming of a white... Arts and Business, London
>
>
>
>
>> Curious to find myself defending, if this is the right
>> term, a piece like this, which ordinarily would not be
>> at all to my taste .
>> It's the massively concentrated *calling attention to*
>> the linguistic content of the search strings which are
>> here denuded of their original context - assisted by
>> the rather splendidly austere design of the page-
>> which does it for me.
>> The outcome is genuinely poetic and moving , it seems
>> to me, and thank god, irreducible to an artist
>> statement or simple explanation - its something to do
>> with zeitgeist, yes; also something to do with an
>> enormous sense of multitude but also something to do
>> with a linguistic pleasure akin to me to that I derive
>> from the work of Alan Sondheim, for example.
>> And that pleasure isn't simply ,abstractly, linguistic
>> but also refers very directly to the world out there
>> in a sort of updated automatic writing -but rather
>> than the outpourings of a single unconscious, we have
>> access to almost literally a *collective* unconcious.
>>
>> On the whole I'm bored rigid by *good-ideaism*, by the
>> artistic one liner, which has struck me as a
>> particularly lazy form of aspiring to art ( I hated,
>> for example, Data Diaries) - but there's no point
>> arguing when something hits you in the viscera.
>> I'm also generally rather more predisposed in favour
>> of stuff involving perhaps a little more craft (
>> although there's clearly real care and thought here
>> -reminds me of MTAA in that respect) -but sometimes,
>> as we all know, it just happens. It does here.
>> michael
>>
>> --- Alexander Galloway <galloway@nyu.edu> wrote:
>>
>>> There have been many projects that use real-time
>>> displays of random
>>> search strings, here are some:
>>>
>>> http://www.metaspy.com/
>>> http://www.google.com/press/zeitgeist.html
>>> http://www.wordtracker.com
>>> http://sp.ask.com/docs/about/jeevesiq.html
>>> http://50.lycos.com/
>>> http://buzz.yahoo.com/
>>> http://search.store.yahoo.com/OT?
>>>
>>> How does Beacon differ from these other sites? more
>>> specifically, what
>>> makes it an artwork?
>>>
>>> On Jan 5, 2005, at 4:39 AM, Jon Thomson wrote:
>>>
>>>> BEACON. A new on-line artwork by Thomson &
>>> Craighead, 2005.
>>>>
>>>> At 00.00hrs on January 1st 2005 an automated
>>> beacon began broadcasting
>>>> on the web at:
>>>>
>>>> http://www.automatedbeacon.net
>>>>
>>>> The beacon continuously relays selected live web
>>> searches as they are
>>>> being made around the world, presenting them back
>>> in series and at
>>>> regular intervals.
>>>>
>>>> The beacon has been instigated to act as a silent
>>> witness: a feedback
>>>> loop providing a global snapshot of ourselves to
>>> ourselves in
>>>> real-time. As resources become available,
>>>

DISCUSSION

Re: BEACON


There have been many projects that use real-time displays of random
search strings, here are some:

http://www.metaspy.com/
http://www.google.com/press/zeitgeist.html
http://www.wordtracker.com
http://sp.ask.com/docs/about/jeevesiq.html
http://50.lycos.com/
http://buzz.yahoo.com/
http://search.store.yahoo.com/OT?

How does Beacon differ from these other sites? more specifically, what
makes it an artwork?

On Jan 5, 2005, at 4:39 AM, Jon Thomson wrote:

> BEACON. A new on-line artwork by Thomson & Craighead, 2005.
>
> At 00.00hrs on January 1st 2005 an automated beacon began broadcasting
> on the web at:
>
> http://www.automatedbeacon.net
>
> The beacon continuously relays selected live web searches as they are
> being made around the world, presenting them back in series and at
> regular intervals.
>
> The beacon has been instigated to act as a silent witness: a feedback
> loop providing a global snapshot of ourselves to ourselves in
> real-time. As resources become available,