The Battle of Algiers
by Marc Lafia and Fang-Yu Lin
launched March 1, 06
artport, the Whitney Museum's portal to Internet art
http://artport.whitney.org
http://artport.whitney.org/commissions/battleofalgiers/BattleofAlgiers.shtml

This work recomposes scenes from the 1965 film "The Battle of Algiers" by I=
talian director Gillo Pontecorvo. The original film is a reenactment of the=
Algerian nationalist struggle leading to independence from France in 1962.=
The success of the actual battle for independence has been attributed to t=
he nationalists' organization: a pyramidal structure of self-organized ce=
lls. For their project, Lafia and Lin recomposed the film along a cell-base=
d structure, in which French Authority and the Algerian Nationalist cells a=
re represented by stills from the film and move according to different rule=
sets. When cells of different camps intersect, they trigger video cells di=
splaying each side's tactics (as depicted in the film) according to the rul=
es of the system.

Accompanied by an essay by Daniel Coffeen: "Film, Play, Power and the Compu=
tational, or Byting Celluloid: On Marc Lafia's and Fang-Yu Lin's 'The Battl=
e of Algiers'"

++++++++++++++++++++
"The Battle of Algiers" is the second in a series of three works co-commiss=
ioned in collaboration with Tate Online. See http://artport.whitney.org/com=
missions/new\_commissions.shtml

Critical texts and video interviews with the artists will accompany the wor=
ks at http://www.tate.org.uk/netart/
++++++++++++++++++++

Upcoming commission:

Launch Date: March 22

Screening Circle by Andy Deck
This project adapts the cultural tradition of the quilting circle into an o=
nline format. Visitors to the site can enter the drawing area to compose lo=
ops of graphics and affect and edit each other's screens. The pieces can =
be made by one person or by several people and the arrangement of the segme=
nts can be haphazard or precise. In the screening area, the resulting motio=
n graphics will be on view instantaneously.

Flack Attack magazine
produced as part of the
artport gatepage December 05
now available as Print on Demand
http://artport.whitney.org

For the December 05 gate page, Jakob Senneby & Simon Goldin used The Port -=
a community-driven space they initiated inside the online 3D world Second =
Life - as a point of departure for developing the collaborative magazine Fl=
ack Attack.

Order Now:
Print on Demand issue of Flack Attack magazine (via Paypal)
http://www.flackattack.org/Prod/order.htm

Info on the publication process of the magazine and a pdf of the magazine a=
re available through the gatepage at
http://artport.whitney.org

The Dumpster," 2006
Golan Levin with Kamal Nigam and Jonathan Feinberg
artport, the Whitney Museum's portal to Internet art
http://artport.whitney.org
http://artport.whitney.org/commissions/thedumpster/dumpster.shtml

"The Dumpster" is an interactive online visualization that attempts to depi=
ct a slice through the romantic lives of American teenagers. Using real pos=
tings extracted from millions of online blogs, visitors to the project can =
surf through tens of thousands of specific romantic relationships in which =
one person has "dumped" another. The project's graphical tools reveal the a=
stonishing similarities, unique differences, and underlying patterns of the=
se failed relationships, providing both peculiarly analytic and sympathetic=
ally intimate perspectives onto the diversity of global romantic pain.

++++++++++++++++++++
"The Dumpster" is the first in a series of three works co-commissioned in c=
ollaboration with Tate Online. See http://artport.whitney.org/commissions/n=
ew\_commissions.shtml

Critical texts and video interviews with the artists will accompany the wor=
ks at http://www.tate.org.uk/netart/
++++++++++++++++++++

Upcoming commissions:

Launch Date: March 1

The Battle of Algiers by Marc Lafia and Fang-Yu Lin
This work recomposes scenes from the 1965 film The Battle of Algiers by Ita=
lian director Gillo Pontecorvo. The original film is a reenactment of the A=
lgerian nationalist struggle leading to independence from France in 1962. T=
he success of the actual battle for independence has been attributed to the=
nationalists' organization: a pyramidal structure of self-organized cell=
s. For the Whitney's artport, Lafia and Lin recomposed the film along a cel=
l-based structure, in which French Authority and the Algerian Nationalist c=
ells are represented by stills from the film and move according to differen=
t rule sets. When cells of different camps intersect, they trigger video ce=
lls displaying each side's tactics (as depicted in the film) according to t=
he rules of the system.

Launch Date: March 22

Screening Circle by Andy Deck
This project adapts the cultural tradition of the quilting circle into an o=
nline format. Visitors to the site can enter the drawing area to compose lo=
ops of graphics and affect and edit each other's screens. The pieces can =
be made by one person or by several people and the arrangement of the segme=
nts can be haphazard or precise. In the screening area, the resulting motio=
n graphics will be on view instantaneously.

February 06 gatepage
for artport, the Whitney Museum's portal to Internet art:

The Bstat Zero Project
by Myron Turner
http://artport.whitney.org

Bstat Zero is a cooperative project focused on opening up the normally hidd=
en interconnections among new media web sites and so give us some insight i=
nto the cultural contexts which make up the world of new media.

It is, first of all, a "log analyzer". Whenever you visit a web site, a rec=
ord of that visit is logged by the web server. Bstat Zero examines these lo=
gs and shows the results in your web browser.

While Bstat Zero shows most of the standard statistics found in web log ana=
lyzers, its emphasis is not statistics but on where the traffic comes from =
(countries, domains, IP addresses, browsers, operating systems), and how it=
has been "referred" to the site (search engines, search terms, other web s=
ites). Its most significant feature is its ability to do "cross-site" compa=
risons.

Bstat Zero comes in two versions, one running on the web sites of participa=
ting artists and groups and the other on BstatZero.org. On a participating =
web site, you can view your own results, which are updated daily, and then =
archived monthly so that you can check back in time. At the end of each mon=
th BstatZero.org downloads to its own server the monthly archives from each=
participant. It's at BstatZero.org that the cross-site facility comes into=
effect, making it possible to investigate the underlying patterns of viewe=
rship and use among new media web sites.

>>>>>>>>>>>>>>>>
Myron Turner is a multi-media artist whose work combines photography, light=
-boxes, printmaking and computers. He has exhibited in galleries and artist=
-run centers throughout Canada, in the US, the U.K. and South America, and =
his digitally produced woodblock prints have won several awards at Boston P=
rintmakers North American Biennials.

Myron Turner has been working with the Internet since 1994. His work for th=
e Web has been included in various on-line exhibitions and collections, inc=
luding "data/reference/art" at http://no-org.net, the http://runme.org soft=
ware art repository, the Rhizome artbase, RRF 2004---XP, Machinista 2003 / =
Artificial Intelligence and Art, and javamuseum.org. He has received New Me=
dia grants from the Banff Centre for the Arts, where he has participated as=
an invited panelist, and in 1994, he co-founded the Manitoba Visual Arts N=
etwork. His work can be accessed through his web site at http://www.room535=
.org/mt/.
>>>>>>>>>>>>>>>>