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.
devising for Rhizome. We would like the list to be as exhaustive as
possible- so if you are aware of new media art programs in high schools,
middle schools, and community colleges, or other accredited programs, we
would like to include them on the list.
Thank you so much!
Sales Associate for Organizational Subscriptions, Rhizome.org
tel. 212.219.1288 x211
programs relevant to new media art. We hope this list will serve as a
resource to our members. Please get in touch with me if you would like to
contribute to the list. I will need the name of the University, the
department, the location, the name of the
program/major/concentration/minor/etc., the program
Please forward and post [attached as a flier]:
====================================================== The University of
South Carolina, Columbia announces
MULTIPLE SEARCHES in FILM & MEDIA
Assistant Professor of New Media Studies
The Film Studies Program and the Media Arts area of the Department of Art
seek a cutting-edge scholar of new/digital media and culture. Teaching
duties include relevant courses in media theory, criticism, and /or history
at both the graduate and undergraduate levels. An ideal candidate might
also bring expertise in television studies, film studies, global media,
and/or media production (new and/or traditional). Qualifications include a
PhD in media studies (or equivalent) with demonstrated excellence in
research and teaching. Application review begins November 15, 2005.
Assistant Professor of New Media Design
The Department of Art seeks a cutting-edge new media artist with creative
research in digital/new media, including computer animation, motion
graphics, web design, and/or other aspects of digital media production.
Teaching duties include courses in digital media production and design. The
successful candidate will bridge the disciplines of graphic design and media
production. The ideal candidate might also bring expertise in traditional
media production (film, video, audio) or print-based communication
(typography, theoretical, and practical design and graphic design history).
Qualifications include an MFA or PhD in digital media (or equivalent) with
demonstrated excellence in research and teaching. Application review begins
November 15, 2005.
Associate or Full Professor of Performance for Media
The Department of Theater and Dance seeks a master acting teacher to join
its professionally active faculty in a nationally competitive department.
Primary responsibility for teaching acting to advanced undergraduate and MFA
students with an emphasis in period styles. Duties include classroom
instruction and coaching in the extensive production program that is
exceptionally well integrated into the curriculum. Experience in
performance for media is needed, as the position will help develop an
interdisciplinary Center for Emerging Electronic Media. MFA or equivalent
professional experience in acting and established and ongoing record of
professional activity required. Interest in, and potential for, assuming
future leadership of the MFA Acting program desirable. Application review
begins December 5, 2005.
Assistant, Associate, or Full Professor of Film Studies/History/Moving Image
This is an interdisciplinary, open rank search for an innovative scholar in
one or more of the following areas: film/TV history; 20th century cultural
history, with an emphasis in moving image culture; moving image archiving.
The institutional configuration of this hire will be determined by the
strengths of the successful candidate, with a joint-appointment shared among
some combination of: the Film Studies Program; the Department of History;
the School of Library and Information Science; and/or the Newsfilm Library,
USC*s film archive. Teaching duties will include graduate as well as
undergraduate courses. We are also interested in candidates whose research
expertise complements the holdings of the Newsfilm Library, which include
the Fox Movietone News Collection (with elements from the 1920s through the
mid 1940s), local TV news (1960s-70s), home movies, and science films by
Roman Vishniac. Depending upon expertise, the scholar hired for this
position might also work on these collections in a curatorial/consulting
capacity. The qualified applicant might hold a PhD in Film Studies (or
related discipline), History, or LIS, with research emphasis in one or more
of the above-specified areas. Application review begins October 31, 2005.
The University of South Carolina is an Affirmative Action/Equal Opportunity
Institution. Women and minorities are encouraged to apply.
COMPLETE ADS & APPLICATION INFORMATION at: http://www.cas.sc.edu/film/
Susan Courtney, Associate Professor
Film Studies and English
University of South Carolina
Columbia, SC 29206
p: (803) 777-2361
f: (803) 777-9064
> Date: Fri, 07 Oct 2005 00:00:43 -0400
> From: e-Flux <firstname.lastname@example.org>
> Subject: Archiving the Alternative / Avant-Garde in
> the United States
> Art Spaces Archives Project [AS-AP]
> Art Spaces Archives Project [AS-AP]
> Launches a New National Initiative to Document
> and Preserve Endangered Archives
> Get Paid to be Preserved
> Recently a consortium of American visual arts
> organizations met to discuss documenting and
> preserving the history of the avant-garde and
> alternative movement in the United States. This
> history is now increasingly recognized for its
> importance to the worldwide community of artists,
> scholars, art historians, educators and aficionados.
> If your organization was founded in the United
> States between 1950 and 2000 please help us by going
> to the AS-AP website https://www.as-ap.org and
> adding your organization, or checking to see if
> AS-AP has already indexed it, and then completing
> our archival survey.
> AS-AP is not currently investigating organizations
> founded after 2000.
> AS-AP is interested in all aspects of art
> presentation -- including for-profit, non-profit and
> unincorporated organizations. We also wish that
> institutions holding of archives related to the
> alternative / avant-garde movement also register
> individual holding with us.
> We will collect and analyze information from
> thousands of organizations in order to quantify the
> need for archival services to the field.
> The survey may be completed on-line or on paper by
> downloading a RTF or PDF version of this survey from
> AS-AP's website at http://as-ap.org/as-ap_survey.pdf
> However, we hope organizations or their
> representatives will complete it online.
> This survey is an ongoing effort -- our database is
> already open for scholars to review, but also for
> new data to be inserted and changes to be made to
> existing records. Unlike a frozen, printed document,
> the AS-AP database will be living. Your
> participation is vital in relaying history to future
> This survey will take approximately 20 minutes to
> complete. The first 1,000 organizations to complete
> this form will receive $50, which is made possible
> through a grant from The Andy Warhol Foundation for
> the Visual Arts.
> In the future we would like to financially assist
> your organization with your archival needs. All
> organizations that complete this survey will become
> eligible for future funding when it becomes
> Please email us at email@example.com or call us at
> (212) 330-7688 if you have any questions whatsoever
> regarding AS-AP or this survey.
> More information about AS-AP can be found on our
> David Platzker, Project Director / firstname.lastname@example.org
> STEERING COMMITTEE
> Rebecca Cederholm, College Art Association
> Linda Earle, Skowhegan School of Painting and
> Milan R. Hughston,The Museum of Modern Art
> Elizabeth Merena, New York State Council on the Arts
> Betsy Sussler, Bomb Magazine
> Marvin Taylor, New York University, Fales Library,
> Downtown Collection
> Martha Wilson, Franklin Furnace Archive
> FUNDING CREDITS
> Art Spaces Archives Project [AS-AP] has received
> generous support
> from The New York State Council on the Arts [NYSCA],
> The National
> Endowment for the Arts [NEA], and the Andy Warhol
> Foundation for the
> Visual Arts. AS-AP also gratefully acknowledges
> operating assistance
> from the College Art Association.
> Art Spaces Archives Project [AS-AP]
> PO Box 20261
> New York, NY 10011
> 212 330 7688 tel.
> For more information go to: http://www.as-ap.org
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Yahoo! Mail - PC Magazine Editors' Choice 2005
------ End of Forwarded Message
From: Edu-News <email@example.com>
Reply-To: Edu-News <firstname.lastname@example.org>
Date: Wed, 28 Sep 2005 21:09:00 -0400
Subject: Purdue University: ASSISTANT PROFESSOR OF NEW MEDIA/INTERMEDIA
ASSISTANT PROFESSOR OF NEW MEDIA/INTERMEDIA
COLLEGE OF LIBERAL ARTS
Patti and Rusty Rueff Department of Visual and Performing Arts
Position Entry level, tenure track academic year appointment beginning
August 14, 2006.
Salary Commensurate with experience and qualifications.
Responsibilities Teach cross-disciplinary courses and develop curriculum in
New Media/Intermedia across the four divisions of the Patti and Rusty Rueff
Department of Visual and Performing Arts and in association with the Purdue
University Envision Center for Data Perceptualization. Courses taught will
depend upon candidate's areas of expertise. Possibilities include: net ar=
computer animation, computer-mediated performance and object art, video
installation, video design for dance and theatre, design as performance,
show control systems, Max/MSP/Jitter, scripting and/or programming for
visual and performance artists, and related areas. Continuing professional
work in creative endeavors and/or research beyond Purdue University is
required as is participation in usual departmental activities.
Qualifications M.F.A. or equivalent professional experience required.
Professional experience and university teaching preferred. Applicant must be
a practicing New Media/Intermedia artist with a strong theoretical basis and
have expertise in two or more of the following: motion capture, CAVE