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

BIO
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 ...

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

Rhizome Curatorial Fellow


Deadline:
Tue Feb 02, 2010 00:00

Rhizome seeks a Curatorial Fellow from February 15th through June 2010. The
Fellow will support the curatorial and editorial departments at
Rhizome through research, writing and administration. This position is
a unique opportunity for a person interested in pursuing a career in
contemporary art to further their engagement with the field and hone
their professional skills.

The Curatorial Fellow must be based in New York and must be able to
commit to 16 hours of work per week, for 5 months, beginning in Spring
2010. This position is unpaid, but academic credit may be arranged.
The Curatorial Fellow will work directly with artists and be overseen
by the Executive Director and Senior Editor.

The Fellow's primary responsibilities include:

*Research and coordination for an upcoming exhibition at the New Museum

* Coordination and development of the Rhizome ArtBase, including
managing submissions and reaching out to artists

*Researching topics for editorial coverage and articles for Rhizome’s
blog and publications

* Administrative support of programs, such as Rhizome's monthly New
Silent Series at the New Museum

*General support of the organization

QUALIFICATIONS: Candidates should have a high level of familiarity
with contemporary art and particularly new media and its history.
Education or advanced experience beyond the undergraduate level is
preferred. At a minimum, the candidate should have very strong
writing, editing, and analytical skills, and very high internet
literacy. Knowledge of Microsoft Office software is also required and
basic Photoshop skills are preferred.

TO APPLY: Please email a cover letter, resume or c.v., three
references, and three writing samples (url's or attachments) to Lauren
Cornell at fellow(at)rhizome.org. Review of applications will begin
immediately. Starting date is February 15, 2010

DEADLINE: February 2, 2010


DISCUSSION

Top 5 - 10


Thanks for your reply, Travis! To answer your question, the Larry Cuba and Tron reference is my own read/interpretation, I felt it aptly captured the aesthetic I was attempting to describe. None of the artists from Computers Club mentioned Cuba or Tron as an influence to me directly.

> It seems more like a style that starts over and over again independently from use of similar tools rather than a tradition

That's a good point. Are the Computers Club artists I cited really using similar tools though? How close is the connection between a program like GRASS and an animation made in Flash? I don't have an educated answer for that, and I'd be interested in hearing what other people have to say about this. I also want to clarify that I wasn't trying to lay out a grand tradition of computer animation here by calling up Cuba and Tron, rather I wanted to simply point to a similarity in terms of the use of geometric forms and movement.


DISCUSSION

Light Bulb Music (2009) - Michael Vorfeld


Thanks for sharing that link! She actually just wrote me last night, possibly after seeing this post, and sent over her myspace:
http://www.myspace.com/kyleclyde
It looks/sounds really interesting.

DISCUSSION

Researching


Thanks for the links Michael and Amanda, this is an enormous, enormous topic! Thanks for bringing it up. Just a quick point: if you're writing this up for a paper, I would be careful to distinguish "Web 2.0" and online video as separate categories. It seems like you're collapsing them into the same thing here.

I second Michael suggestion that you go through Rhizome's blog to find artists working in online video - there are quite a few.

Rhizome's been heavily involved with this area for some time, in terms of Rhizome-specific resources related to online video and web 2.0, I would consult:

Rhizome Artbase (searching for works tagged "video"):
http://rhizome.org/art/

Montage: Unmonumental Online
http://rhizome.org/art/exhibition/montage/

Montage: Unmonumental Online Panel, videos available through Rhizome's Vimeo
http://vimeo.com/2113217

Net Aesthetics 2.0 Panel, videos available through Rhizome's Vimeo
http://vimeo.com/2183401

Ed Halter, After the Amateur: Notes
http://rhizome.org/editorial/2566

Greg J. Smith Out of Context: Artists and Web Inventories
http://rhizome.org/editorial/2279

Carolyn Kane Dancing Machines: An Interview with Natalie Bookchin
http://rhizome.org/editorial/2653

Jonah Brucker-Cohen Report from Ars Electronica 2008: A New Cultural Economy
http://rhizome.org/editorial/20

Rick Silva, Interview with Mark America
http://rhizome.org/editorial/3080

Resources relevant to the role of video in the atmosphere of the internet - copyright issues, circulation, history of bootlegging, etc:

Sven Lutticken Viewing Copies: On the Mobility of Moving Images
http://www.e-flux.com/journal/view/75

Oliver Laric, Versions, 2009
http://oliverlaric.com/versions.htm

In Defense of the Poor Image by Hito Steyerl
http://www.e-flux.com/journal/view/94

Dara Birnbaum and Cory Arcangel: In Conversation from Artforum, March 2009

Lucas Hilderbrand's Inherent Vice
http://www.amazon.com/Inherent-Vice-Histories-Videotape-Copyright/dp/0822343762

Ed Halter's Television for the People
http://www.canopycanopycanopy.com/5/television_for_the_people

Open Video Conference in 2009
http://openvideoalliance.org/open-video-conference/

Marisa Olson Lost Not Found: The Circulation of Images in Digital Visual Culture
http://www.wordswithoutpictures.org/main.html?id=276

Resources relevant to the history of cinema, video & the online environment:

Sean Cubitt's The Cinema Effect
http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=10722

Yvonee Spielmann Video: the Reflexive Medium
http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11338

Mary Ann Doane The Emergence of Cinematic Time (esp. the chapter The Instant and the Archive)
http://www.hup.harvard.edu/catalog/DOAEME.html

Anne Friedberg The Virtual Window
http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=10780

Lev Manovich The Language of New Media (esp. the chapter What is Cinema?)
http://mitpress.mit.edu/catalog/item/default.asp?tid=8830&ttype=2

DISCUSSION

Excavated Tree (2009) - Katie Holten


Nice, Brian! I love Natalie Jeremijenko's work.