Ceci Moss
Since 2005
Works in Oakland, California United States of America

Ceci Moss is the Assistant Curator of Visual Arts at Yerba Buena Center for the Arts in San Francisco. Currently a PhD candidate in Comparative Literature at New York University, her academic research addresses contemporary internet-based art practice and network culture. Her writing has appeared in Rhizome, ArtAsiaPacific, Artforum, The Wire, Performa Magazine, and various art catalogs. Prior to her position at YBCA, she was the Senior Editor of the art and technology non-profit arts organization Rhizome, and an Adjunct Instructor at New York University in the Department of Comparative Literature. She also programs a radio show dedicated to experimental music on the free form community radio station Radio Valencia called Radio Heart, and she plays music and DJs.

Continuous Partial Listening: Holly Herndon in Conversation

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?

Expanded Internet Art and the Informational Milieu

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[1], post media [2], post media aesthetics[3], radicant art[4], dispersion[5], formatting[6], meme art[7], circulationism[8]—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.[9] 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.

Questioning the World as Image: The 55th Venice Biennale and "The Whole Earth"

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?"

Wavelength: "The Paris, Texas of the Second Empire" by Lawrence Kumpf

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.

Eli Keszler's Piano Wire Works

eli keszler : cold pin from eli keszler on Vimeo.

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.

Eli Keszler Collecting Basin from eli keszler on Vimeo ...


Discussions (52) Opportunities (6) Events (10) Jobs (3)

Eats Tapes & Nate Boyce European Tour

Eats Tapes, featuring live video projection by Nate Boyce, will tour Europe
starting this week. Good friends of mine, and very talented.

Eats Tapes site:

Work by Nate Boyce:

1.20.06 Hasselt, Belgium - Dramarama Festival @ Kunstencentrum Belgie
1.27.06 Nijmegen, Netherlands - Dramarama Festival @ Extrapool
1.28.06 Paris, France @ La Generale w/Lucky Dragons
1.30.06 Arhus, Denmark @ LJUD w/Lucky Dragons
1.31.06 Copenhagen, Denmark @ Royal Art Academy w/Lucky Dragons
2.01.06 Cologne, Germany @ Elektra w/E*Rock
2.02.06 Rotterdam, Netherlands @ WORM w/Extreme Animals
2.03.06 Berlin, Germany - Club Transmediale


Phi Phenomena Saturday Dec. 10th

Phi Phenomena Festival
Saturday Dec. 10th 8pm
The Lucky Cat
245 Grand St.
Brooklyn, NY

Bands performing:
mi or and the pedestals
Crib Death
Gunung Sari
Rip Childs
The Ball Governor
Ghost Wars
Religious Knives
+ special videos before/after the bands

Phi-Phenomena is:
an annual music festival started in 1996 featuring 10 artists performing in
one hour, each giving a 5-minute set with 1-minute intermissions.


I'm playing this festival, organized by Ignivomous, as mi or and the
pedestals, I am assuming most of the groups are on the noise end of the
spectrum, it should be fun.


No Wave Video Night With Weasel Walter

> Ocularis at Galapagos Art Space | 70 North 6th
> Street | Brooklyn, NY | 718.388.8713
> Friday, December 9 at 9 PM
> No Wave Video Night
> Special Screening!
> "I define No Wave as an (anti-)aesthetic demarcation
> and not necessarily an idiomatic one


Artists' Television Access Benefit


Support Artists' Television Access! Donate to ATA from now through December
16th, 2005 and receive many fine, limited edition gifts.

Levels of giving (and what you will receive in return):

ALTERNATIVE ($25): text compilation
PUNK ($50): text compilation and DVD compilation or audio CD compilation
RENEGADE ($100): text compilation, DVD compilation and audio CD compilation
OUTLAW ($150): text compilation, DVD compilation, audio CD compilation,
limited edition poster/print, ATA T-shirt


Molly Hankwitz
Luke Hones
A. Mark Liiv
Sarah Lockhart
Neighborhood Public Radio
DJ Pod
Megan Prelinger

Craig Baldwin
Yin-Ju Chen & James Hong
David Cox
Bill Daniel
Carl Diehl
Kota Ezawa
Kent Howie & A. Mark Liiv
Kerry Laitala
Karla Milosevich
Valerie Soe
Lise Swenson
Marshall Weber
cover artwork by: James Bewley

The Bulbs
George Chen
Concept Bureau (Rroland & Sean Talley)
Beth Custer
The Helen Lundy Trio
Eric Renehan Jones
Norman Long
Neighborhood Public Radio
DJ Pod
Steve Polta
Pamela Z

Ezra Li Eismont
Claude Moller
Scott Williams

Artists' Television Access is a 501(c)(3) non-profit, all volunteer-run
organization located in the Mission District of San Francisco.

To make a secure donation on-line, visit: http://www.atasite.org/donate/ (If
you prefer to send in a check, please make it out to "Artists' Television
Access" and send it in (along with your current, preferred mailing address)
to: Artists' Television Access, 2005 Fundraiser, 992 Valencia Street, San
Francisco, CA 94110). If you are donating $150 or more, please indicate
which poster/print artist's work you prefer along with your T-shirt size!

To find out more information about upcoming screenings and events at
ATA, visit: http://www.atasite.org and


CFP: Journal of E-Media Studies

Tue Nov 15, 2005 00:00 - Tue Oct 18, 2005

The Journal of e-Media Studies announces that we are accepting
submissions for publication.

The deadline for our inaugural issue is November 15, 2005. Special topic
sections of the journal, to include more than one related essay, may be
proposed. We intend our inaugural issue to premiere in Spring, 2006.

We are committed to the rapid turnaround of subsequent journal
submissions in as practical a means as possible.

Manuscripts can be e-mailed to the editors at e-Media@Dartmouth.edu,
or a CD/DVD version may be mailed to:

Journal of e-Media Studies
Dept. of Film and Television Studies
6194 Wilson Hall
Dartmouth College
Hanover, NH 03755

JOE-MS is a blind peer-reviewed, on-line journal dedicated to the
scholarly study of the history and theory of electronic media,
especially Television and New Media. It is an inter-disciplinary
journal, and we welcome submissions across the fields and methodologies
that study media and media history.

Our goal is to promote the academic study of electronic media,
especially in light of the rise of digital media and the changes in
formal and expressive capacities resulting from new configurations of
electronic media forms. We solicit the best new scholarly work on
current and historical e-media issues and topics, including work on
inter-medial relations to traditionally non-electronic media (such as
cinema, theater, and print media).

We welcome essays in traditional textual formats. We strongly encourage
submissions that utilize and develop the features that an on-line
journal can afford, in order to realize new analytical and pedagogical
practices and strategies.

Please see our website [http://journals.dartmouth.edu/joems/] for more
details about our Submissions Guidelines, list of Editorial Board
members, and Mission Statement.

Ceci Moss
Sales Associate, Rhizome.org
tel. 212.219.1288 x211
fax. 212.431.5328
email. ceci@rhizome.org