The imagery and sound in Entering were performed 'live' by Donebauer and composer Simon Desorgher, and recorded in real time, using a colour TV studio at the Royal College of Art. Later Donebauer and Richard Monkhouse developed the Videokalos synthesiser, as an image-sound performance instrument. Entering was transmitted by the BBC in 1974.
This Thursday night, March 17th, the online curatorial platform Jstchillin.org will celebrate the last year and a half of their programming with a large group exhibition involving all thirty-five of the artists who have developed special projects for the site. Opening at 319 Scholes in Brooklyn, the show, entitled "READ/WRITE," will remain on view until March 30th. Begun in October 2009 by Parker Ito and Caitlin Denny, Jstchillin.org has emerged as one of the most playful and innovative destinations for internet-based art. I interviewed Parker and Caitlin over email in January 2011. This interview appears in the catalog for "READ/WRITE," available for purchase here.
The experience of running an online platform for art, like Jstchillin, has its own set of challenges and advantages, in terms of the flexibility of display, a potential for a large, diverse audience, serendipitous reception and circulation. I’m wondering if you can talk more about your experience with Jstchillin, and how this may have lead to some of the key themes in READ/WRITE.
Caitlin Denny: JstChillin started with ambitious goals, and now we're seeing it all come together even better than we had imagined. It’s been somewhat surreal to reflect on the process, people and conditions of the project. It had originally been a Rhizome proposal that got rejected called "Cosmos" that included a small group of friends, some of whom are a part of JstChillin. I wanted to keep going with the project even after we got rejected, and it seemed Parker was the only one on the same page as me. We developed our ideas and mission for the project very loosely when we made "An Essay About Chillin'", a screen capture movie of a staged AIM conversation. After that, we started our now year and a half long exhibition on our site called "Serial Chillers In Paradise" which is what we have become most well known for. We were fans of surf clubs and the like, but wanted to do something more immersive that would almost abolish the body yet make one hyper aware of their own physicality. We chose to let the artists take over our site every two weeks instead of using a blog-like style to highlight work. We weren't interested in highlighting just any art we liked at the moment, we were interested in commissioning new works made especially for our site. This, I think, stands us apart from a lot of other online exhibition sites. We also wanted to create a seemingly naive and simple charisma to our project that over time would unfold the complexities of our digital condition. I think we've been successful so far. Reading Brian Droitcour's essay on us, first published on Rhizome's blog, made me realize that we had accomplished something, whether people liked it or not. I was somewhat blind, and probably still am, to who our audience is. I imagine it is mainly people involved in an online art community of sorts, but I frequently get hints and clues to other worlds of people who see the site. I like this ambiguity, that's what the internet is to me. I don't want to know facts or numbers, I want to keep the internet wild and mysterious… but it seems now we are getting closer and closer to the limits of the internet. I've felt these changes in my own surfing and online time - it is harder to discover the vast net terrain more than ever. Not that there isn't anything to discover, but the way I surf the net is so much different, and so much more boring, than I ever used to. I am definitely more in the Tim Berners-Lee camp than the Tim O'Reilly camp - the web was made as a read/write vehicle, a vast anonymous space for interaction and discovery. With Web 2.0, the enchantment of the net is slowly disintegrating. We need the Jim Henson of the internet to step up and tell us what's up.
Parker Ito: JstChillin is always framed as a curatorial project. I feel kind of weird saying that at times. It's more like a performance of curating. For me, it's just about hanging out online and looking at what people are doing and it's really hard to know who's seeing what, but at least with our site people can sorta respond and be like "I really like so and so's project." A lot of the Surf Club era artists used, and still use Delicious to spread stuff they're excited about, or get out the word about a new project. JstChillin in my mind is an extension of that. It is a crazy ambitious project, a year and half exhibition, that is kinda insane now that I think about. Reflecting on the project now, I don't really know what to say, it's a really overwhelming feeling. The themes for the show occurred very naturally. This show will never live up to the beauty of my daily interaction with people online, it's just an opening paragraph in a really really long essay. There's a lot of power to be harnessed.
United States of America
For her new installation, emergent entity chant array, Murphy has designed a type of fractal involving self-similar patterns at varying scales. Constructed out of a precisely configured assemblage of 3D printed sculptures, LED lights, light boxes, and wood cut forms, the installation resembles a real life version of her complex and dizzying internet-based works. Like Murphy’s virtual video game environments, emergent entity chant array plays upon the visitor’s perception of both space and dimension, encouraging the exploration of elevated states of consciousness.
Deeply post-humanist in her approach, Murphy views her creative process as a form of meditation in which she seeks an intuitive, harmonious relation with the tools used to produce her work. Her intricate arrangement of forms focuses her own energy and that of the viewer, drawing them in. This sense of an attuned connection with an audience is also an active element in the art collectives of which she is a member, MSHR and Oregon Painting Society.
Architecture and Computation with Keller Easterling and Erica Robles (Part of PROGRAM: Media and Literature at NYU)
United States of America
Architecture and Computation
19 University Place, Great Room
New York, NY 10003
Free and Open to the Public
"PROGRAM" is an interdisciplinary event series organized by graduate students within New York University’s Media, Culture and Communication, English, and Comparative Literature Departments. Intentionally broad in scope, the series will present talks that explore the cultural, historical, aesthetic and political impact of software and programming logic.
This first event in our year-long lecture series explores the intersection of architecture and the logic of computation. How does computation structure our physical world, and in what ways has the function of computational media been applied to the spaces we inhabit?
Keller Easterling (Yale University, Architecture)
Extrastatecraft: Global Infrastructure and Political Arts
Repeatable formulas and spatial products make most of the space in the world. Now, not only buildings but also entire cities have become spatial products that typically reproduce free zone world cities like Shenzhen or Dubai. Space has become a mobile, monetized, almost infrastructural, technology, where infrastructure is not only the urban substructure, but also the urban structure itself. Some of the most radical changes to the globalizing world are being written, not in the language of law and diplomacy, but rather in the language of this matrix space. Massive global infrastructure systems, administered by mixtures of public and private cohorts and driven by profound irrationalities, generate de facto, undeclared forms of polity faster than any even quasi-official forms of governance can legislate them—a wilder mongrel than any storied Leviathan for which we have studied political response. Infrastructure space is one crucible within which multiple fields of analysis encounter ample complexity, and it tutors special approaches to both form making and political arts.
Keller Easterling is is an architect, urbanist, writer, and Professor of Architecture at Yale University. Her latest project is titled Extrastatecraft.
Erica Robles (New York University, MCC)
Mediated Congregation: The Crystal Cathedral and God’s Place in a Networked WorldThis talk focuses on an often-overlooked institution that has helped produce and legitimate transformations in 20th century social life: the church. Through an analysis of the Crystal Cathedral Robles situates Protestant spatial production within a broader project of cultural re-formation whereby collective life became conducted via increasingly mediated, mobile, and distributed arrangements. For more than half a century, this influential Southern California ministry helped reshape the style and material conditions for worship. At its height, the Crystal Cathedral was perhaps the most visible Protestant church in the world.
Robles will render three distinctive and successive portraits of the church as a drive-in theater (1955-1957), an indoor-outdoor/television church (1962-1970), and then a globally-broadcast, glass and steel cathedral (1980 – 2012). Each site was a re-imagining of the socio-technical conditions for communion. Together, these portraits will trace a trajectory from the post-war to the present whereby the church helped determine technological and architectural meanings. By designing for mediated congregation, ministries like the Crystal Cathedral inscribed the production of broadcast and then networked geographies with spiritual significance. In so doing, they also translated Christian cosmology into a new technological regime.
Erica Robles is an Assistant Professor of Media, Culture, and Communication at New York University.
Upcoming 2012-2013 PROGRAM events
Media Archaeology with Matthew Kirschenbaum and Wendy Hui Kyong Chun, March 1st, 2013
Values in Technological Design with Geoffrey Bowker and Sara Hendren, April 12th, 2013
The series is sponsored by NYU's Information Futures, the Humanities Initiative, and the Departments of Media Culture, and Communication, English, and Comparative Literature.
Friday, December 10th 2010 / 3:00 - 7:00pm
Myles Jackson (History and Philosophy of Science and Technology, NYU): “The Role of Physicists in Measuring and Defining Nineteenth-Century Musical Aesthetics”
Kevin Bell (English, SUNY Albany): “Non-Cognitive Aspects of the City: Sound as Break in Christopher Harris’s “Still/Here"”
Ana María Ochoa (Music, Columbia University): “Orality and Orthography in Nineteenth-Century Colombia”"
Gary Tomlinson (Music, University of Pennsylvania): “Paleolithic Formalism”
Reception to follow
New York University / Silver Center for Arts and Science / 100 Washington Square East / Department of Music, Rm 220, 2nd floor
Sponsored by the departments of Music and Comparative Literature; with support from the NYU Humanities Initiative
Music, Language, Thought” is an interdisciplinary event series organized by graduate students within New York University’s Music and Comparative Literature Departments. Broadly speaking, the series focuses on the relationship between music and language, and our speakers will examine its theoretical ramifications for politics, aesthetics and historiography. The project stems from ongoing conversation and collaboration between graduate students within these two departments, and will continue on an annual basis.
Rhizome is a leading arts organization dedicated to the creation,
presentation, preservation, and critique of emerging artistic
practices that engage technology. Through open platforms for exchange
and collaboration, our website serves to encourage and expand the
communities around these practices. Our programs, many of which happen
online, include commissions, exhibitions, events, discussion, archives
and portfolios. Rhizome is an affiliate of the New Museum of
Contemporary Art. For more information about Rhizome, visit:
Rhizome seeks a Curatorial Fellow from February through June 2011. 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 2011. 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:
* Coordination and development of the Rhizome ArtBase, including
managing submissions and reaching out to artists
*Researching topics for editorial coverage and writing 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 Ceci Moss editor(at)rhizome.org. Review of applications will begin
immediately. Starting date is February 15, 2011
DEADLINE: February 3, 2011
The New Museum, New York’s only museum devoted exclusively to contemporary art, seeks an Associate Development Director, Grants to oversee and manage the institution’s $2 million grants portfolio. This position works closely with the Director of Development to cultivate, expand, and steward foundation, corporate, and government donors. S/He will oversee all aspects of institutional grants: prospecting and researching; writing proposals and letters of inquiry and final reports; and developing financials in accordance with each grant-making institution’s guidelines. Candidates should possess outstanding expository and persuasive writing skills, a high level of initiative, and an ability to work independently and as part of a team, as the situation requires. Candidates must have a proven track record and demonstrated success with institutional donors including municipal, state, and federal funding agencies. An interest in contemporary art and knowledge of the New York arts funding community is highly preferred.
The Associate Development Director, Grants also serves as the Development Manager for Rhizome, the New Museum’s affiliate new media arts organization who contracts the NM for development services (1 day a week). S/he reports to the Director of Development at the New Museum and the Director of Rhizome.
Primary Responsibilities for New Museum and Rhizome
* Manage and implement foundation, corporate, and government institutional giving initiatives
* Work with Director of Development, Director’s Office, and Director of Rhizome to cultivate, expand, and steward institutional donor relationships
* Timely and quality production of grant submissions and reporting, and other proposals as needed
* Manage an active grants calendar in Raiser’s Edge and update stewardship and cultivation actions as needed
* Facilitate donor communications for and be a primary steward to foundations, corporations, and government agencies
* Strategize on how best to present the New Museum to potential and current funders
* Liaise with other Museum Departments for Development purposes; coordinate inter-Departmental Development meetings and projects to ensure prompt and accurate grant compliance
* Implementation of grant, sponsorship, and major gift contracts including recognition, reporting, and added events and programs
* Maintain familiarity with the New Museum and Rhizome’s range of programs and accurately portrays organizational activities in verbal and written communications
* Assist in the development of annual grants budgets for New Museum; lead development of annual grants budget for Rhizome
* Work closely with the Rhizome Director on board, major donor, and community campaign communications
* Provide support for select fundraising events including: museum VIP openings and spring gala, and Rhizome fundraising events
MA in Art History, Arts Administration, Museum Studies, English, or equivalent preferred. A minimum of three years experience writing mid to high level grants for cultural institutions, excellent communication skills, experience in tracking grants and relationships in Raiser’s Edge, keen attention to detail, superior copy editing skills, strong follow through, and ability to interact with and anticipate funder benefits/needs are required. Excellent time management and ability to meet deadlines; requires flexibility to assume a workload that frequently necessitates an adjustment of priorities. Proficiency with Microsoft Office and its associated applications is required.
Interested candidates should submit a cover letter, resume, and two grant writing samples which demonstrate their range of writing skill to: devjobs[AT]newmuseum.org.