Remember the old Warp screensaver, which helped office geeks imagine they were whizzing through space at Star Trek speeds? Ohhh, yes you do! Miss losing yourself in soothing imaginary constellations? Artist Guthrie Lonergan revisits the whoooooosh sensation of this old favorite in his Floor Warp2, which is a never ending loop of not-so-intergalactic space, the floor. Lonergan translated Floor Warp 2 into the screensaver Floor Warp (for Mac or PC) as an exclusive edition for the Rhizome Community Campaign. So get your head out of the clouds, become a member at the Shoot level, and go Floor Warpin' today.
After attending Cory Arcangel's performance Continual Partial Awareness, in which Arcangel provided a long (and hilarious) list of his unrealized ideas, the father of one Rhizome employee commented that he needed to buy the "Best-of-YouTube tape" to catch up on all the punchlines. Have a loved one curious about all the weird and funny stuff lurking online but who may be a little intimidated? Become a member at the Seedling level today and bring them up to date with the gift of a Nasty Nets' DVDROM. A compilation of internet folklore put together by the twenty-five members of surf club nastynets.com, this DVDROM includes videos, remixes, animated gifs, and tons and tons of found and appropriated material.
Image above from Petra Cortright's folder of surfing insanity available on the Nasty Nets DVDROM!!!
IX @ DEADTECH 2008 from IX h3x3n on Vimeo.
IX knows 9 spells:
- 0N: turns computer on
- 4W4Y: restarts computer
- data_disappear: makes data disappear
- 3T3RN4L_R3TURN: makes data reappear
- 54W: cuts the operating system in half
- R881X0R: runs the rabbit virus
- M461C14NZ_H4T: catches the rabbit virus in the magician's hat
- T3H_0RD3R_0F_0RD3R: creates order + nonsense
- CH405_M4J1K: creates chaos + sense
Statement: H3X3N is a group of Computer Witches who have built an enchanted cube that casts magical spells on computers. The IX cube casts spells on Windows, Macintosh and Linux computers, hacking and hexing these operating systems. IX combines traditional stage magic tricks and irony as elements of Hacker culture to create an Interactive Installation and Software Art project.
Alexei Shulgin's pioneering works in internet art are collected on his site easylife.org, but many of the links there are empty or obsolete; one called Insanity Notification sends visitors to a site indicating that Shulgin went insane at an unidentified point in the past. It has been more than five years since Shulgin left the online environment to focus on the production of tangible, marketable objects. His collaboration with Aristarkh Chernyshev began in 2003, and two years later the artists founded Electroboutique a gallery-slash-gadget shop selling distorting screens and other high-tech toys. Shulgin and Chernyshev called it "Media Art 2.0," and wrote a manifesto saying the plug-and-play nature of their new work liberated them from a "media art ghetto," adding that their manipulation of familiar screen-based interfaces contained a nugget of criticality. Their work was recently featured in "Criti Pop", an exhibition at the Moscow Museum of Modern Art (along with interactive installations that Chernyshev made in collaboration with Vladislav Efimov). - Brian Droitcour
This past Sunday the New York Times Magazine profiled Lewis Hyde, a writer and poet whose 1983 book The Gift described the value of art and literature in a market system as "the commerce of the creative spirit." Now a fellow Harvard's Berkman Center for Internet and Society, Hyde is at work on a book that attempts to define how the market of cultural property should be regulated. Excerpts below, see link at the bottom for the full article.
In the late 1990s, Hyde began extending his lifelong project of examining "the public life of the imagination" into what had become newly topical territory: the "cultural commons." The advent of Internet file-sharing services like Napster and Gnutella sparked urgent debates over how to strike a balance between public and private claims to creative work. For more than a decade, the so-called Copy Left -- a diverse group of lawyers, activists, artists and intellectuals -- has argued that new digital technologies are responsible for an unprecedented wave of innovation and that excessive legal restrictions should not be placed on, say, music remixes, image mashups or "read-write" sites like Wikipedia, where users create their own content. The Copy Left, or the "free culture movement," as it is sometimes known, has articulated this position in part by drawing on the tradition of the medieval agricultural commons, the collective right of villagers, vassals and serfs -- "commoners" -- to make use of a plot of land. This analogy is also central to Hyde's book in progress, which looks closely at how the tradition of the commons was transformed once it was brought from Europe to America.
Hyde posits that the history of the commons and of the creative self are, in fact, twin histories. "The citizen called into being by a republic of freehold farms," he ...