After completing her informal education in Berlin's underground club scene, artist and musician Holly Herndon relocated to the Bay Area to pursue an MFA at Mills College's esteemed music program. Now continuing her studies in computer-based music at Stanford, Herndon has an inquisitive approach to technology, finding common threads among often-divided disciplines and communities: electronic music, academia, the tech sector, and contemporary art. As a result, her work is not easily categorized, whether she's composing music for brass ensembles or working on robotic sculptures with artist Conrad Shawcross, touring festivals in Europe or making dance music with heavily processed recordings of the human voice. This week, she released a 12" entitled Chorus on RVNG Intl.
Ceci Moss: Your new 12" Chorus comes out this week. The title track recalls the experience of continuous partial attention in online browsing, using audio samples derived from your own daily browsing. Chorus begins chaotically, taking form with the addition of percussion. Could you discuss the ideas behind this composition? Also, what did you use to sample your browsing history, and how did you technically create the track?
Ben Aqua, NEVER LOG OFF, 2013 (Limited edition t-shirt designed for #FEELINGS)
We are no longer mostly dealing with information that is transmitted form a source to a receiver, but increasingly also with informational dynamics—that is with the relation between noise and signal, including fluctuations and microvariations, entropic emergences and negentropic emergences, positive feedback and chaotic processes. If there is an informational quality to contemporary culture, then it might be not so much because we exchange more information than before, or even because we buy, sell or copy informational commodities, but because cultural processes are taking on the attributes of information—they are increasingly grasped and conceived in terms of their informational dynamics.
- Tiziana Terranova, Network Culture: Politics for the Information Age
Post internet, post media , post media aesthetics, radicant art, dispersion, formatting, meme art, circulationism—all recent terms to describe networked art that does not use the internet as its sole platform, but instead as a crucial nexus around which to research, transmit, assemble, and present data, online and offline. I think all of the writers advancing these terms share a sense that since the rise of mainstream internet culture and social media, art is more fluid, elastic, and dispersed. As Lauren Cornell astutely points out in the recent "Post Internet" roundtable for Frieze, terms are always placeholders for more complex ideas, and when successful, can instigate further, deeper conversation. Towards that end, I'd like to introduce another word to the list—expanded. Drawing from the definition of expansion as "the action or process of spreading out or unfolding; the state of being spread out or unfolded," I consider "expansion" not as an outward movement from a fixed entity, but rather, in light of data's dispersed nature, a continual becoming. Expanded internet art is not viewed as hermetic, but instead as a continuously multiple element that exists within a distributed, networked system. In order to elaborate this term, and to take small steps towards thinking through the changing conditions for art production in the early 21st century, I will use Tiziana Terranova's notion of an "informational milieu" to describe the dynamic process of exchange among artist, artwork, and network.
Photo of Earth by the crew of Apollo 8. December 22, 1968
The central theme for this year’s Venice Biennale exhibition, curated by Massimiliano Gioni, comes from an obscure patented design for an encyclopedic palace by the self-taught Italian-American artist Marino Auriti. Envisioned as a 136-story building that would take over sixteen blocks of Washington, D.C., Auriti’s palace was to house all the available knowledge in the world. Titling the show "Il Palazzo Enciclopedico" after Auriti’s unrealized model, Gioni and his team selected an eclectic group of artists, psychologists, mystics and more whose work resonates with Auriti’s desire to create a total image of the world. In many ways, the exhibition can be seen as a response to the exhaustive overabundance of information available on the internet. As Gioni pointedly asks in his essay, "…what is the point of creating an image of the world when the world itself has become increasingly like an image?"
The Paris, Texas of the Second Empire
Compiled July 2012 by Lawrence Kumpf
The flâneur is someone abandoned in the crowd. He is thus in the same situation as the commodity. He is unaware of this special situation, but this does not diminish its effects on him, it permeates him blissfully, like a narcotic that can compensate him for many humiliations. The intoxication to which the flâneur surrenders is the intoxication of the commodity immersed in a surging stream of customers. -- Walter Benjamin, 1938
A phantasmagoric journey through mid-20th century Country-Western music inspired by Walter Benjamin’s "The Paris of the Second Empire in Baudelaire."
Like the poet as flâneur in Benjamin’s essay, the country singer holds a position as the susceptible vessel that embodies the incongruities and ruptures characteristic of modern life. Neither an active symptom nor proprietor of a solution for the social ills, the singer finds himself drawn into the intoxicating world of empathetic relations to, with and as commodity. We hear, perhaps more clearly then in Baudelaire, a voice speaking not from the elevated position of a social commentator or critic, but as the desire of the commodity and commodified. Connoisseurs of narcotics sing empathetic odes to inanimate objects and intoxicants, fortifying themselves in homes that are really bars. Hobos, trashmen and ragpickers walk the street collecting and picking through the worn out, exhausted items that have escaped our economy of exchange: the antiques of modernity, the images of obsolescence. The perpetual peregrinator, a rambling man, heroically stripped of the comforts of modern life finds himself stalking graveyards and mourning a loss that has yet to occur, the final refuge of his own death. In a way these songs embody the last gasp of a failed American politics, the moment before county western music slips into an emphatic listing of personal property as banal as Rick Ross’ "Trilla." The tragedy of our era is that the latent revolutionary desires present in Hank Williams Jr.’s "Fax Me a Beer" (not included in this mix) are forever doomed to find their outlet in an inane fantasy of endless technological advancement.
1.Porter Wagoner - The Wino
2.Jim Ed Brown- Bottle, Bottle
3.Porter Wagoner – Shopworn 4.Hank Williams – Men with Broken Hearts
5.Leon Rausch – Glass of Pride
6.Don King – Live Entertainment
7.David Allen Coe – Sad Country Song
8.Don Silvers – Play me another Hank Williams
9.Porter Wagoner – Bottom of the Bottle
10.Merle Haggard – Swinging Doors
11.Porter Wagoner – I Just Came to Smell the Flowers
12.D. Sheridan – Don’t Make Me Laugh (While I’m Drinkin’)
13.The Willis Brothers – Gonna Buy Me A Jukebox
14.David Frizzell – I’m Gonna Hire A Wino to Decorate our House
15.Frank Lowe - "Trash Man"
Lawrence Kumpf is a curator at Issue Project Room in Brooklyn, NY.
New York-based musician and artist Eli Keszler integrates piano wire into his compositions in a way that falls between installation and improvisation. For Cold Pin, motorized beaters controlled by a generative sequence struct 14 piano strings hung across the wall of Boston's Cyclorama in 2011. Keszler then invited Ashley Paul, Greg Kelley, Reuben Son and Benjamin Nelson to play off the work, improvising alongside the randomized clunks, scraps, and bangs emanating from the wall.
His recent L-Carrier at Eyebeam complicated this format by activating the motors in tandem with a changing visual score designed by Keszler. Hosted on a dedicated website commissioned by Turbulence, these images evolved when visitors tripped up "targets" on the site that interfere with the code, modifying the pattern of the motors. On June 7, Keszler again played in a seven piece ensemble in conjunction with the installation, including musicians Ashley Paul, Anthony Coleman, Alex Waterman, C Spencer Yeh, Catherine Lamb, Geoff Mullen, and Reuben Son.
In both compositions accompanying Cold Pin and L-Carrier, the installation serves not as a simple backdrop, but a central element. On their own, the installations continue to have a commanding presence. Unlike the extended resonating tones of Ellen Fullman's Long Stringed Instrument, which meditatively fill a room, Keszler's approach to auditory space reveals his training as a percussionist, where the plucks are akin to hits - busy, feverish and complex. Taken out of an enclosed environment, such as in Collecting Basin, piano wire is not only responsive to the whims of the motor beaters but also the wind and the elements. Here, Keszler hung the wire from a large water tower, transforming an industrial space into an open air instrument.
The Arts, Media and Engineering Program (AME) (http://ame.asu.edu) at
Arizona State University is announcing an opening for a tenure-track
assistant professor in Visual Media and Gaming.
The goal of AME is transdisciplinary research and education in the
integrated development of experiential media systems. The program has
established its own graduate interdisciplinary curriculum which includes AME
concentrations in Electrical Engineering, Computer Science and Informatics,
Dance, Music, Theater and Visual Arts, Design, Psychology, Bioengineering,
Education, and a soon to be launched PhD in Media Arts and Sciences. Ten AME
faculty and 30 affiliated faculty from the participating departments work
collaboratively with graduate students supported by research assistantships
for the creation of innovative media systems and applications. AME has state
of the art media facilities.
The successful candidate will take a leadership role in the design and
development of the visual aspects of multimodal interactive systems and
gaming technologies at AME and will also lead student training in this area.
The individual hired will spearhead research in cutting-edge areas:
interactive graphics and animation, interactive visual narrative, visual
displays for everyday systems, gaming systems. The appointee
graduate programs to explore the "New Media Resources" section of the
Rhizome site. We have a long list of new media art programs, both
undergraduate, graduate and post graduate. Under "Services" click "New Media
Resources" on the front page.
On 10/15/06 9:50 PM, "Anton" <email@example.com> wrote:
> I'm a computer science student who's been interested in working in this field
> for a while now but I haven't heard much about graduate programs. The school I
> go to now, UC Santa Cruz has a new media department but one of the
> prerequisites to entry is a having an idea for your thesis project, something
> I'm not sure I have yet. In any case, I really want to find out what else is
> out there. Where should I think about applying? Is there anything I should
> know beforehand?
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Premiere Screening: 8pm Sharp, Thursday, July 13, 2006
CANADA, NYC: 55 Chrystie Street (between Hester & Canal)
Organized by Melissa Brown, Josh Kline, and Michael Williams
Exhibition runs from July 13 ? August 13, 2006
Alistair Banks Griffin
Marie Lorenz and Lan Tuazon
Summer is here. Time to take a time-out from the high temperatures and
humidity in an air-conditioned movie theater. Time to kick back and eat
popcorn in the dark. Time to spend some quality time with slick
multi-million-dollar Hollywood fantasies.
Action Adventure is a group video show in the spirit of the Hollywood
Blockbuster. The major part of the project is a 90 minute-long curated
program of video exploring the influence of the movies in videos made by
artists. Cinema provides a momentary escape for billions of people from
The ordinary difficulties of their lives. It is a mass-produced language of
imagination and emotions universally understood in our culture. The
Artists in Action Adventure harness elements of the movies to tap into this
system. They reuse, rearrange, or redeploy the ideas and strategies of
Hollywood in the service of art-making.
Jim Drain, Jocelyn Shipley, and Antoine Catala hijack cliche movie genres
by creating absurdist parodies. Ryan Trecartin takes the narrative and
edits it into something new and radical. Shana Moulton, Paper Rad and Scott
Reeder create vivid character-driven stories. Stina Wirfelt and Tim Etchells
take on the stars. Abbey Williams pays homage to Kenneth Anger by doing a
remake. Rachel Mason, Marie Lorenz, and Lan Tuazon perform daring and
dangerous deeds and document them. Tanyth Berkeley turns the camera on the
audience and experiments with slow-motion excitement. Jeremiah Clancy, Julie
Orser, Alistair Banks Griffin, and Cate Snook create moments of abstracted
cinematic beauty. Chris Moukarbel takes bootlegging a little too far. Trevor
on the river & under the stars
Celebrate summer with EAI at a special open-air video screening on the
Hudson River at Pier 63 Maritime.
Wednesday, June 28th
Pier 63 Maritime
23rd Street and the Hudson River (directions below)
New York City
Please join EAI for an outdoor program of alternative music videos and
music-based video by artists. The screening will include works by Cory
Arcangel, Charles Atlas, Michael Bell-Smith, Johanna Billing, Dara Birnbaum,
Meredith Danluck, Devin Flynn, Shana Moulton, Tony Oursler with Sonic Youth,
Ara Peterson, Seth Price , and William Wegman.
The videos will be screened on the tented stage at Pier 63 Maritime, the
public access pier on the Hudson River. Food and drinks will be available
for purchase at the pier.
The artist-made music videos in the program include Charles Atlas' new music
video for Antony and the Johnsons, Ara Peterson's pulsing abstract video for
Black Dice, Devin Fynn's animated epic for Erase Errata, William Wegman and
Robert Breer's classic video for New Order's Blue Monday, and Tony Oursler
and Sonic Youth's 1990 tribute to '70s pop star Karen Carpenter.
Other artists manipulate or re-conceive footage from appropriated music
videos or live music performances. Cory Arcangel tries to take Simon out of
Simon and Garfunkel's 1984 Central Park performance, while Michael
Bell-Smith makes an entire R. Kelly DVD happen all at once. Dara Birnbaum
integrates the audience and even the weather in her rendition of
performances by Radio Fire Fight at the legendary Mudd Club and Glenn
Other works playfully subvert the music video format, reworking and
reinterpreting its rules and strategies. Seth Price uses analogue video
graphics to map out a pop history of the music genre New Jack Swing.
Meredith Danluck experiments with James Brown and the power of context,
Johanna Billing blurs the lines between documentary, performance and music
video, and Shana Moulton uses an electronic rave as a hallucinogenic escape
route from the everyday.
Directions to Pier 63 Maritime
Take the C or E train to 23rd Street. Transfer to the westbound M-23
crosstown bus and take it to the end of the line. Walk west to the end of
West 23rd street and cross the West Side Highway. Walk through the parking
lot in front of Basketball City, bearing right. The ramp leading to Pier 63
Maritime is directly to the right of Basketball City. The screening will
take place under the tented area at the rear of the pier.
Founded in 1971, Electronic Arts Intermix (EAI) is one of the world's
leading nonprofit resources for video art and interactive media. EAI's core
program is the international distribution of a major collection of new and
historical media works by artists. EAI's activities include a preservation
program, viewing access, educational services, online resources, and public
programs such as exhibitions and lectures. The Online Catalogue provides a
comprehensive resource on the 175 artists and 3,000 works in the EAI
collection, including extensive research materials and artists' Web
Electronic Arts Intermix
535 West 22nd Street, 5th Floor
New York, NY 10011
(212) 337-0680 tel
(212) 337-0679 fax