Jonah Brucker-Cohen
Since the beginning
Works in Brooklyn, New York United States of America

Jonah Brucker-Cohen, Ph.D., is an award winning artist, researcher, and writer. He received his Ph.D. in the Disruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is the Director of the Digital Humanities MA program and an Assistant Professor of Digital Media and Networked Culture in the department of Journalism, Communication, and Theatre at Lehman College (City University of New York – CUNY).

He has taught as adjunct assistant professor at Parsons MFA in Design & Technology and Parsons School of Art, Design, History, and Theory (ADHT) from 2010 to 2014. He has also taught in the Media, Culture, Communication dept of NYU Steinhardt School of Culture Education and Human Development (2009, 2010, 2011). He has also taught at NYU’s Interactive Telecommunications Program (ITP) (2007, 2008), and Trinity College’s MsC in Interactive Digital Media (2003, 2004). From 2001-2004 he was a Research Fellow in the Human Connectedness Group at Media Lab Europe and from 2006-2007 he was an R&D OpenLab Fellow at Eyebeam Center for Art and Technology in New York City. He received his Masters from ITP in 1999 and was an Interval Research Fellow from 1999-2001.

Jonah’s work and thesis focuses on the theme of “Deconstructing Networks” which includes over 80 projects that critically challenge and subvert accepted perceptions of network interaction and experience.

He is co-founder of the Dublin Art and Technology Association (DATA Group), recipient of the ARANEUM Prize sponsored by the Spanish Ministry of Art, Science and Technology and Fundacion ARCO, and was a 2006 and 2008 Rockefeller Foundation New Media Fellow Nominee. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Neural,, Art Asia Pacific, Gizmodo and more, and his work has been presented at events and organizations such as DEAF (03,04), London Science Museum (2008), Future Sonic / Future Everything (2004, 2009), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06,09,12), Institute of Contemporary Art in London (04), Tate Modern (03), Whitney Museum of American Art’s ArtPort (03, 12), Ars Electronica (02,04,08), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA – NYC)(2008),San Francisco Museum of Modern Art (SFMOMA) (2008), and Palais Du Tokyo, Paris (2009). His work has been reported about in The Times, The New York Times, Wired News, Make, Boing Boing, El Pais, Gizmodo, Engadget, The Register, Slashdot, NY Post, The Wire, Rhizome, Crunch Gear, Beyond the Beyond, Neural, Liberation, Village Voice, IEEE Spectrum, The Age, Taschen Books, and more.

He has given lectures about his work at locations and venues such as Intel Corporation, School of Visual Arts, Ars Electronica, Canadian Consulate, NYU, UCLA, USC, San Jose State University, ISEA 2002, 2004, 2006, 2012, University of Buenos Aires, Institute of Contemporary Art London, Transmediale, Universität der Künste Berlin, Tate Modern, Oslo National Academy of the Arts, Urbis Manchester, CCCB Barcelona, Open Hardware Summit, Contemporary Art Museum Belo Horizonte, Brazil, The Banff Centre, Brown University, Carnegie Mellon University, Rhode Island School of Design, Maker Faire, Royal College of Art, Royal Library, Copenhagen, Denmark, Eyebeam, Anderson Ranch Arts Center, Pratt Institute, and more.

Locative Media Revisited


Molly Dilworth, 547 West 27th Street (2009). From the series "Paintings for Satellites."

In the early 2000s, as location-aware devices first became commonplace, there was a lot of hype surrounding their potential creative use by artists. However, over time, this initial enthusiasm for "locative media"--projects that respond to data or communications technologies that refer to particular sites--leveled off, even dissipated. Regardless of this drought, geospatial technologies are widely used, and play an important and often unnoticed role in conditioning many aspects of our existence. Responding to this condition of ubiquity, artists have continued to use locative technologies critically, opening up closed systems, making their effects visible, and reconfiguring our relationship with such systems.  

Welcome to Your New NSA Partner Network: Report from Transmediale 2014

We're running our annual community campaign through March 19. Give today!

Photo: Andreas Nicolas Fischer.

A kind of cold weather antipode of summer's "Love Parade," the Transmediale 2014 media arts festival was a beacon of light in the long dusk of a Berlin winter. As a twist on the usual curated exhibition, this year's festival opted for an ad-hoc "Art Hack Day" (AHD) approach, where submitting artists were expected to create new and original artworks in the span of two days (and nights). Opening the exhibition with a more down-to-earth feel, AHD ultimately resembled a DIY, garage-style party instead of a highbrow exhibition space.

Art In Your Pocket 3: Sensor Driven iPad and iPhone Art Apps

 PXL, Rainer Kohlberger, 2012

As the iPhone just celebrated its fifth year on the market, artists have already made a substantial dent in the commercially lucrative world of Apple’s AppStore. Despite this success, artists are still pushing forward to build apps that further integrate with the device’s sensors and location-based capabilities. Rather than working solely within the context of software art as I have covered in two previous articles on the subject for Rhizome, there is a focus now on artists who are interacting with the physical world by using the device’s internal sensors, location capabilities, constant Internet connectivity, and built-in cameras.


“Konfetti”, Stephan Maximillian Huber, 2012


Using the camera as a sensor, “Konfetti” by German based designer Stephan Maximillian Huber visualizes the image of its subject into countless dots. In effect, the camera image is translated into virtual confetti that follows any movement and creates an ever changing images based on which camera is selected. The dot’s movement is correlated to the detected flow captured by the camera and by repelling other dots, which also move as you touch and drag them. Huber explains over email how the app works as a reflection based art tool. “The app started as an iPad-only app, and on an iPad the app acts like a mirror, showing an abstract reflection of yourself. You'll get a clear image of yourself only when you concentrate on the process of the app, and don't move too fast. It's like contemplating about yourself and the image of yourself. And as your thoughts and emotions aren't static the image the app generates is dynamic and adapts to minimal movements and new ...


Art in Your Pocket 2

In the summer of 2009, I wrote an article here at Rhizome about the burgeoning activities of media artists creating new works or updating versions of their older interactive screen-based projects for Apple's iPhone and iTouch mobile devices. As the article made its way throughout the blogosphere, comments surfaced ranging from criticism of the "closed world of Apple's App Store and iPhone devices" to a championing of the availability of inexpensive multi-touch technology now available to artists who had been waiting for a platform that could adequately display and allow for the type of interaction their projects demanded. A year after the article came out, the draw of these devices and their potentially expansive audience has become even more irresistible to artists enough so that several more "apps" have surfaced. The following article catalogs several new iPhone works which have emerged over the past year, works that are pioneering the next generation of portable media art.

Top 5 - 10

Image from There I Fixed It

Jonah Brucker-Cohen is a researcher, artist, professor and writer. His writing has appeared in numerous international publications including WIRED Magazine, Make Magazine, Neural, Rhizome, Art Asia Pacific, Gizmodo and more, and his work has been shown at events such as DEAF (03,04), Art Futura (04), SIGGRAPH (00,05), UBICOMP (02,03,04), CHI (04,06) Transmediale (02,04,08), NIME (07), ISEA (02,04,06,09), Institute of Contemporary Art in London (04), Whitney Museum of American Art's ArtPort (03), Ars Electronica (02,04,08), Chelsea Art Museum, ZKM Museum of Contemporary Art (04-5),Museum of Modern Art (MOMA - NYC)(2008), and the San Francisco Museum of Modern Art (SFMOMA) (2008). He received his Ph.D. in the Disruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is an adjunct assistant professor of communications at NYU's Interactive Telecommunications Program (ITP) and in the Media, Culture, Communication dept of NYU Steinhardt School of Culture Education and Human Development.

2009 was an important year for the Internet as a whole. The advent of web 2.0 and "crowdsourcing" initiatives has enabled a much richer array of content from users who might never have ventured onto the Internet in previous years. My top 10 sites for this year cover a wide range of topics from art made for mobile devices with to evidence of both information saturation with Information Aesthetics and physical and pseudo intellectual abundance with This is Why You're Fat and There I Fixed It, to strange observances of mistakes in the public realm with Fail Blog. In addition to these crowdsourced content sites, I also see some ongoing potential with artist-created sites such as Brett Domino's lowtech approach to music making ...


Discussions (40) Opportunities (1) Events (2) Jobs (0)

Report from Ars Electronica 2003

Hopefully this isnt too late - but for those who missed it (and those
who made it) just thought I'd send out my annual report....

Report From Ars Electronica 2003
Sept 6-11, 2003
Linz, Austria
By Jonah Brucker-Cohen (

Along the banks of the Danube river in Linz, Austria, the world
famous Ars Electronica festival opened with a heavy duty roster of
theorists, performers, artists, and practitioners. This year's theme,
"Code: The Language of Our Time," was meant as a starting point to
examine code and software art's development, aesthetics, and
implications. Debates centered around the question: If code is the
language of technology what does this mean for the future of art
practice? Despite a wide range of answers from participants, the
human side of the equation was ignored. For instance, how do we react
to code? It might sound sentimental, but how does code make us feel?
Machine code might be integral for computers to function, but
ultimately humans dictate their use. I tried to answer these
questions during the six day event, but felt overall that user
experience remained an afterthought to most of the discussions and
exhibited work.

The symposium began with hard-hitting theorists of code and
information visualization. The approach was to emphasize the
framework of the conference topic as existing within a larger body of
work from sociology to political to personal contexts. I arrived on
the second day of the symposium, when an adamant Richard Kriesche
spoke about code as a set of interconnected signs wherein code itself
could be seen as art form in itself. Roman Verostko, an artist and
theorist provided a nice alternative when he presented his graphic
drawing machines built in the 80s as examples of rule-based
sculptures illustrating how changing a single variable in a process
can create infinite and unpredictable behaviors. Following this
presentation, Casey Reas, co-creator of Processing (,
argued that programming languages are materials, like other enabling
media, and that despite their flexibility, they can also be limiting.
His inspiration for Processing stems from the processes of code
executing, rather than the act of writing code, or the code's output.
At the Q&A session after his talk, Andreas Broeckmann (co-curator of
Transmediale) posited to Reas the simple question:"Why do you
program?" Of which Reas replied, "Because I have to". Coding might be
a biologic need for some, but the debate raged on as to how code can
translate from one medium to the next.

Other symposium sessions focused on the scalability of code into new
forms including community and networks to physical devices and
objects. During the "Social Code" panel, Howard Rheingold, author of
"Smart Mobs", spoke about the battle over code where conflict of
ownership ultimately curbs innovation. Florian Cramer disputed the
festival's theme by emphasizing the appropriation of code as art and
how this distinction creates and artificial relationship between code
and language. Looking at biometrics, Fiona Raby, formerly of the
Royal College of Art, threw some humor into the mix by outlining the
"BioLand" project, a virtual mini-mall of bio-metric devices and
gadgets including a human DNA encoded pet pig. Also, Hiroshi Ishii,
professor of Tangible Media at the MIT Media Lab, spoke about
decoding code through physical interaction with objects and how by
creating these dynamic relationships could contribute to a new human
language of collaborative design. Finally Crista Sommerer, artist and
professor at IAMAS in Japan, spoke about her various installations
that attempt to transcend the aesthetics of the machine such as two
haptic squash-encased devices that share people's heartbeats across a
Bluetooth connection.

Escaping the talks for some fresh air, I wandered down to the
exhibition across town. Toned down from last year, the show featured
a wide range of interactive projects from the CyberArts Honorary
Mention category. Walking up the O.K. Center's long concrete
stairwell, visitors were tracked and illuminated by Marie Sester's
"Access", a responsive spotlight that follows your movements as
dictated by online participants. On the first floor, the
Japanese-based musical group/corporation, Maywa Denki's amazing
electronic and human controlled musical instruments were set up,
including several interactive guitars and drum machines with
electronically controlled mallets connected to custom software
running on a PC. Other highlights included the "Biker's Horn" a
saxophone like instrument with flashing lights and multiple tubes and
the "Drum Shoes", wherein the CEO of Maywa Denki wore actuated shoes
with mallets as toes that were triggered by tapping his fingers on
custom built gloves with keys. Down the hall was Daniel Reichmuth and
Sybill Hauert's "Instant City", a block interface based musical
system where visitors could build structures that depending on the
amount of blocks placed triggered different samples. Another simple
yet effective musical interface was "Block Jam", a collection of
small reconfigurable blocks with embedded LED displays that allowed
people to create custom rhythms based on the blocks position,
orientation, and proximity to each other. Finally, in fine contrast
to the high tech installations was Iori Nakai's, "Streetscape", a
pen-based interface that played city sounds as users traced an
embossed map of Linz.

Scattered throughout the main venues were various performances and
special events that kept Ars visitors occupied. The main event was
Golan Levin and Zachary Leiberman's "Messa di Voce", an experiment in
interactive 3D graphics and sound, where vocalists Japp Blonk and
Joan La Barbara's cacophonous utterances came to life amid a giant
triple projection screen backdrop. Instead of focusing on a distinct
theme, the piece felt more like a collection of unique vignettes that
emphasized universal appeal over any distinct viewpoints. On the
music side, Steve Reich's monotonous "Drumming" performance featured
countless percussionists pounding repetitive rhythms in a room of
swirling visuals provided by FutureLab resident artist, Justin Manor.
The last night of Ars featured the bizarre "POL - Machatronic"
performance in the PostHof with actors donning robot exoskeletons
while reenacting a sausage themed love story. Afterwards, the late
night Code Arena at the Stadtwerkstatt pitted programmers against
drunken audiences who voted for the first ever Chocolate Nica Award
presented by Sodaplay creator, Ed Burton.

As the festival ended and all the code was compiled, there still
seemed to be something missing. Despite all the featured examples and
practice of software aesthetics in execution, code as language, input
and output, and modes of representation, there was little discussion
about experiencing the code itself. For instance, who uses all of the
code produced? What are we thinking, feeling, and experiencing when
code is used and what reactions exist in these instances? Although
insight was gained on how producers and theorists of this medium
postulate connections with code to cultural and social phenomenon,
there was little focus on the human response. Ultimately it is this
distinction which makes our experience unique and allows us to
understand the technology we interact with everyday. Perhaps in an
art context this might seem elusive, but the debate seemed incomplete
without uncovering the fundamental source of our frustration and
happiness with code.

-Jonah Brucker-Cohen



+++ Please Forward Around to People Who Might Be Interested++
+++ Below is info on how to join the Mailing List as well +++

When: Tuesday, July 29th, 2003 - 7pm
Where: Stags Head Pub (Upstairs Room), Dame Lane, Dublin, Ireland

DATA 13.0 wont be unlucky! Featuring presented
work by artists/designers Romek Delimata (747-X
Flight Simulator), Niki Gomez (,
Rebecca Allen (MLE, UCLA, Virtual Reality), Short
Film by Aki Aro (AKUMA) + special guests,
screenings/animations and more!!

All D.A.T.A. events are FREE and open to the public!

More info on DATA 13 Presenters:

Romek Delimata
Romek is an artist / motion-picture special
effects designer based in Dublin, Ireland. For
the past five years he has built a homeade 747-X
flight simulator (from the discarded cockpit of
an Aer Lingus Boeing 747) in a shipping container
behind his studio space. The simulator has all of
its original controls and interfaces to an EPIC
capture card and is networked to computers
running a copy of Microsoft Flight Simulator. The
simulator is currently on exhibition at EuroJet
Futures exhibition at the Royal Hibernian
Academy, Dublin. He's also worked on films such
as Braveheart, Behind Enemy Lines, and Flight of
the Pheonix.
exhibit URL:

Niki Gomez
Niki is head of new media arts at Watermans arts
centre, West London which consists of gallery,
theatre and cinema spaces. Previously, she headed
Cybersalon, a monthly independent event at the
ICA, London which brings together digital
artists, business and education to discuss ideas
and showcase new work. Cybersalon has given birth
to Cybersonica - London's only festival of
electronic music and sound art. Niki has an MSc
in Interactive Multimedia and has worked in new
media building web sites, teaching and writing.
Previously Niki worked for the Cybertheatre,
Brussels, the world's first arts venue devoted
solely to digital art- She has
also worked in Brussels in the European
Commission and Parliament in areas of Media and
Human Rights.

Rebecca Allen
Rebecca Allen is an internationally recognized
media artist inspired by the potential of
advanced technology, the aesthetics of motion and
the study of behavior. Her work,
which blurs the boundaries between physical
reality and virtual reality, between biological
life and artificial life, takes the form of
interactive art installations, computer animated
films and live multimedia performances. Allen
received a BFA from Rhode Island School of Design
and MS from Massachusetts Institute of
Technology. She was a member of the Architecture
Machine Group at MIT (now known as MIT Media Lab)
followed by the NYIT Computer Graphics
Laboratory, a world renowned computer animation
research center. She was founding co-director of
the UCLA Center for DigitalArts and founding
chair of the UCLA Department of Design |Media
Arts, where she is currently a professor.

Aki Aro
Aki is a Dublin-based audio-visual artist. He is currently working as a
graphic designer and a music producer. His main interest at the moment is in
digital video and audio production.

AKUMA Synopsis
The past comes to haunt Richard when a data CD is delivered to his door. The
virtual ghost of Hans, a man Richard once set up for a murder, is hungry for
revenge. Hans traps Richard into the virtual-reality world. Richard's fri=
Lynn is trying to trace a strange computer signal with a computer hacker. T=
signal happens to be the very same signal that Hans is controlling. Lynn
becomes Hans' next victim.

Please bring your work to show! We encourage
people to bring projects/ works in
progress/ideas/and any other types of media to
show/perform the night of the event or just think
is cool and think others should know about it!

If you have something specific in mind please
contact us beforehand to arrange for specific
equipment, etc.. Thanks!


Dublin Art and Technology Association
D.A.T.A. Group

The Dublin Art and Technology Association (DATA)
is a group formed with the intention of
promoting, exploring, discussing, and exhibiting
art and technology in Ireland and the world.
Based in Dublin, DATA is built on the idea that
collaboration between artists, musicians,
technologists, and academia is the key element in
creating a rich cultural environment for the
dialogue and conception of technological art
practices. We aim to create an informal space
where art and technology can meet and allow
people from multiple backgrounds to come
together, collaborate, and explore new directions
and art practices.

DATA is dedicated to both showcasing the work of
local technologists, musicians, and artists using
technology as well as providing a meeting point
for the intersection of these disciplines.

Our aim is to encourage collaboration between
group and non/group members and support an open
forum for ideas, practice, and presentation. All
forms of art and tech are welcome for showing at
the group events - from interactive work to
net-based projects to digital video to audio
projects to theatrical performances to
installations - and we will be asking for an open
call for people to present their projects at the
various events and venues around Dublin.

Contact Info:
To Join Mailing List:

Jonah Brucker-Cohen (
Nicky Gogan (nicky\

All D.A.T.A. events are FREE and open to the public


Report from User_Mode Symposium

Report from User_Mode
Emotion and Intuition in Art and Design Symposium
May 9-11, 2003
Tate Modern & London Science Museum, London, UK

By Jonah Brucker-Cohen (

Set in the blood red upholstered venue of the Tate Modern's Starr
auditorium and amid the futuristic light-arrays of the London Science
Museum's Wellcome Wing, the 3-day User_Mode conference on emotion and
intuition in art and design kicked off with a wide array of over 30
speakers spanning disciplines in art, design, textiles, fashion,
research, science, and even osmology. The event's theme centered on
how emotional design and aesthetics intersect digital art practice
and covered everything from audience engagement, subjectivity and
interactive experience, immersion, social ecology, and shared
communication systems over distance. Despite the looming threat of
information overload, the event turned out to be both entertaining,
provocative, and despite a few lapses of focus along panels, created
a positive forum for active discussions to occur.

The opening panel, "Poetics and the Spectacle" began with chair,
David Ross' (Beacon Cultural Project), opening address on the history
of art practice and his belief that despite technological changes in
expressive forms, all art engenders interactive traits. He seemed
adamant about the aging view that designates the artist's role into
one that changes experience into moments of "sublime intimacy" and
that available technology is less important than the time period in
which art exists and reflects upon. Of the presenters, artist Simon
Biggs, who presented Babel, a browser for navigating the Internet
using the Dewey decimal system, favored the term "reader" over "user"
to explain the process of interaction with his work. This approach
was telling when fellow panelist, Masaki Fujihata (Japan) described
his most recent "Field:Work" GPS video mapping project, as a method
of showing how multiple perspectives in location-based systems
creates a greater sense of individual appreciation and understanding
of the work. According to Fujihata, it's not enough to experience the
work from outside, but to also gain new perspectives within. Fujihata
proved this best when he placed five apples on the lectern as a
metaphor for describing abstraction using real objects.

Focusing on the internal nature of "Interactivity & Subjectivity",
the next panel lead by Irene McAra-McWilliam (IA/RCA), spoke about
how the depth of human memory relies on our ability to both to store
and forget information and how this relates to the design of future
human/machine interfaces. Taking no prisoners, RCA researcher,
Brendan Walker gave a sermon-like speech into the phenomenology of
"thrill", examining both the ethnographic question of cultural
dependence on high-risk interfaces and addiction to integrating a
"thrill" quotient into our everyday lives to escape personal
realities. Afterwards, artist Stuart Jones instigated discussion when
he postulated that interactive systems might lose their authorship to
audiences, and that "users" end up being puppets of the author's
predetermined system. This relationship seems to be constantly
changing as artists focus on generative systems of interaction where
the experience itself shifts along with the content of the

The opening day's final panel explored sensory experience and the
body. Speakers included Crispin Jones' pain-based fortuneteller table
to Jenny Tillotson and George Dodd's smell-based wearables featuring
a model walking around the stage with activated shoes and perfume
emitting garments. When Dodd gleefully exclaimed, "We are surrounded
by smells", chuckles filled the auditorium, but his focus was more on
how adding a sense of smell to digital interfaces can augment our
emotional attachment to machines and seemingly banal interactions.

After a long night, and little sleep, day two began on a charged note
with the "Aesthetics" panel which I was lucky enough to participate
in along with fellow panelists Joshua Davis and Lev Manovich. Lev
opened the panel with a humorous and extensive slide show of objects
of representation such as the classic Mac SE and industrial machinery
that signify fundamental shifts in artistic representation through
the last century. In contrast, Davis began with a video of his
self-blinding food coloring antics to illustrate the beauty of
unexpected outcomes and went on to describe his forays into
generative Flash animation systems that create unique outputs based
on simple rule sets. My talk focused on how physical networks exploit
conventional connectivity cliches and covered some of my recent
projects including Desktop Subversibles, which looks at shifting
normal desktop relationships by networking everyday activities like
copy/paste and mouse movements.

Delving deeper into concepts of data visualization and sonification
of virtual environments was the "Immersion and Self" panel, led by
Banff Centre's New Media Director Sara Diamond. Artist Golan Levin
opened the session with his view that immersive experience "thickens"
our point of view while he showed examples of his collaborative work,
"The Secret Life of Numbers", as well as previews of his new
graphical vocalization project, "Mesa Di Vocce". Looking at voice
translation from text to speech over networks, installation artist
Susan Collins described her "In Conversation", which featured a
net-connected mouth projected onto the pavement of a busy sidewalk,
as an open system where the street meets the public space of the
network. Her most recent work on the "Tate in Space" project
amplified this belief that new contexts for artistic mediation add
dimensionality to interactive work. Finally, Selectparks' Julian
Oliver described his work in building custom game engines and levels
that exist both as virtual prosthetics to existing architectures as
well as provide social dimensions to games by associating them with
real locations.

Examining the social ecologies and matrices of interactive art,
another panel featured speakers interested in representation of space
and experience within distinct situations. FoAm, represented by Nat
Muller, explained the contextual theory behind their "TxOom" project
- a collaborative performance held inside an old hippodrome in Great
Yarmouth. Peter Higgins of London's Land Design Studio, explained how
creating projects for public spaces often determines the range and
durability of the piece, while Tobi Schneidler's presentation on the
Remote Home ( was a closer look at the implications of
interactivity within the private context of networked living spaces.
Finally, Natalie Bookchin and Jacqueline Stevens presented their
outline for "Citizen's Dillema", a rule-based political foray into
multi-player online games where citizens are given voting rights to
configure the world. All of these works addressed context, without
which most lose meaning, a danger that digital art often falls victim.

Rounding out the conference, day three took visitors to the London
Science Museum where discussions centered on the collective conscious
of everyday life in networks and communication medium. The opening
presentation was given by a Macintosh II computer's text to speech
interpreter while Arthur Elsenaar sat still with electrodes connected
to his face. By sending electrical pulses to his cheeks, the computer
could theoretically control his facial expressions. Juxtaposing this
idea of computer mediated emotion to siphoning human emotion through
connected, abstract objects, was the Faraway Project's use of
connection relationships to illustrate methods of intimate distant
interaction. Lastly, Anthony Burrill of, added some
non-sequitor examples of how simple models of complex systems can be
emotional when he played a spliced and note separated version of "Hey

As User_Mode concluded, it became clear that the true value of
emotional connections with technology and interface is whatever
personal experiences can be brought to the surface through this
interaction. User_Mode represented a collection of innovative
cross-disciplinary speakers attempting to answer the fundamental
question of whether or not technology exists to improve the overall
quality of life. Fundamental questions still remain for debate such
as: How do we connect human experience to technology? How do social,
cultural, geographical, individual and global differences affect how
we interact emotionally with each other ,the technology we use, and
our everyday experience? Can the technological artist be an important
instigator in this debate? We may never agree, but ultimately, events
like User_Mode help to establish discourse that attempts to include
all disciplines by deconstructing cultural production into its most
basic forms.

-Jonah Brucker-Cohen (



Monday 31th March 2003

See website for more info:

DATA:BASE is a one-day conference which will be held on April 26th
2003 in the Digital Hub Cash and Carry warehouse space in Dublin's
Digital Hub.

Exploring the theme of "Democratisation of Technology" and featuring
artists/musicians/technologists/academics whose works engage the
public, the conference sees the public as essential to the nature of
the work its execution, presentation and involvement.

DATA:BASE is delighted to announce a brilliant line up of renown
International artists who will attend and present this one day
conference. A unique opportunity for the public to listen, discuss
and participate in this once off lively eventSS

In addition to the symposium, the warehouse space will feature a
workshop with basic prototyping tools, a technology swap-meet for
people to freely trade old and used equipment, vendors selling
technology-art based wares (art books, artist-made mouse pads,
digital prints, etcS), and ongoing live interventions and
performances during the day.

DATA:BASS - Interactive Experiments- an evening event with
performances by Boredom Research, Del 9, Ambulance, Lou Reed's Brain,
Double Adaptor and more, also screenings, and installations to
culminate the day's activities

DATA:BASE - Digital Dialogues

What: a one-day conference, featuring renown International artists
discussing art, education and technology.
When: Saturday April 26, 2003 (10am - 6pm)
Who: Open to the public, tickets must be bought in advance off website,
Seating is limited so early registration is essential.
To register:
Where: Digital Hub Cash and Carry warehouse space in Dublin's Digital
Hub, Thomas Street, Dublin 8.
Cost: 10 Euro for full day (register on website)

One day conference will feature visiting artists' presentations by
UK-based team - Boredom Research(2:30pm - 3:45 pm)
(, Thomson & Craighead (10:45 am - 12 pm)
(, and Desperate Optimists (10:45 am - 12
pm) ( and US-based artist Leah Gilliam
(2:30pm - 3:45 pm).

Between presentations there will be a panel discussion focused on
"Educational Institutions in Art and Technology" and "Digital Art and
the Public" with guests including Marie Redmond (TCD), Paul O'Brien
(NCAD), Tim Redfern (PixelCorps), Dr. Linda Doyle (TCD), Conor
McGarrigle (, and more.

The day will also include installations such as Boredom Research's
artificial life MIDI installations "System 1.6" and "K-19", Thomson &
Craighead's humorous take on post-dotcom merchandise with, Leah Gilliam's installation: All That NASA Allows, and
Desperate Optimist's Catalogue of Disasters.

** Stalls will be setup for vendors selling technology-art based
wares (art books, artist-made mouse pads, digital prints, etcS)
including booths and info from local University art/tech graduate
programs, book stores, theater spaces, arts organizations and more!

** The technology swap meet invites visitors to drop off their old or
outdated equipment (such as old synthesizers, hard drives, computers,
monitors, amplifiers, gadgets) and trade them with other participants.

** The all-day open workshop space featuring a "SCRAPYARD MIDI
CHALLENGE"that will allow festival attendees to create projects and
participate in short visiting artist-led workshops using minimal or
found objects and basic electronics.

DATA:BASE is supported by The Digital Hub (,
Critical Voices (, Dublin Art and Technology
Association (, DarkLight Digital Festival
(, Media Lab Europe (, and
Sink Digital Media (



What: Interactive Experiments- an evening event with performances by
Boredom Research, Del 9, Ambulance, Double Adaptor, and more, also
screenings, and installations to culminate the day's activities.
When: Saturday evening April 26, 2003 (7pm - 10pm)
Where: Digital Hub Cash and Carry warehouse space in Dublin's Digital
Hub, Thomas Street, Dublin 8.
Cost: 5 Euro @ door (register on website)

DATA:BASE invites producers, authors, students, filmmakers,
artists, designers, hackers, hackers, DJs, animators, lawyers, journalists,
musicians, media moguls, net addicts, coders and any other interested
parties to attend this one day event

Seating is limited so early registration is essential.
To register:

Please send any queries regarding this to

All press queries to Sarah Ross:


Fwd: Call for Projects: Exhibit2:Mobilise at The Digital Hub

Please forward this call to anyone who you think might be interested and
feel free to post it to sites, groups etc.

Call for Projects for Exhibition of Digital technology projects in The
Digital Hub Project Office , 10 - 13 Thomas Street .

In December 2002, The Digital Hub launched the first in its series of
exhibitions showcasing digital technology in its new project office on
Thomas Street.

During 2003 The Digital Hub will continue to exhibit work that
demonstrates and explores the creative potential of digital technologies
on an ongoing basis. These exhibitions will provide a unique platform
for newcomers and established artists, filmmakers, designers,
programmers, developers and musicians, animators from many diverse
backgrounds to exhibit their work.

The second exhibition in the series, 'Mobilise', aims to publicise the
creative potential of personal telecommunications of all shapes and
forms. We are looking for innovative content for mobile- or location
aware- computing platforms e.g. distributed role playing games, location
aware art applications.

-SMS, PDA, GPS, GPRS, Wi-Fi, Games, Gadgets, Graffiti for your phones...

>From SMS poetry, phone photography/video, to innovative or conceptual
designs for next generation mobile devices. Films, adverts and
animations made using mobile technologies or themed around personal
communications issues to music featuring telecommunications samples or
mobile collaboration- All could potentially feature in 'Mobilise'.

We are inviting submissions from various disciplines including but not
exclusively all fine art practice, computer generated images,
interactive media, web art, film: both linear and interactive,
animation, special effects, music, sound, design: graphic, fashion, or
product, motion graphics, commercial production, gaming, e-learning,
m-learning, advertising, enabling technologies, mobile technologies, web
development and computer programming.

We are also looking for submissions for video installations to be shown
at the 'Projected Windows' site, No. 157 Thomas St. Dublin. Ireland.

For more information on this site please check our website <>.

Submissions can come from persons and organisations based in Ireland or

The final exhibits will be chosen by a selection panel and those that
are chosen to exhibit will be awarded an honorarium of EUR1,000. This
initiative is been supported by Diageo Ireland under the Liberties
Learning Initiative. Should the fee be waived it will be donated to the
Liberties Learning Initiative.

Those interested in exhibiting can present their ideas either as a
finished piece of work, work in progress or as a proposal. For the pilot
showcase, turnaround time to complete the project is three weeks.
Closing date for receipt of proposals is 17thof Febuary 2003.

Successful exhibitors should be prepared to present their projects in a
series of talks and that will take place in 2003

You may send your projects on CD, DVD, URL, interactive presentation ,
VHS or mini DV or email
<> with your proposal. Please clearly
mark your submissions 'Exhibit 2:Mobilise'. <>
Address: Nicky Gogan, The Digital Hub Project Office, 10-13 Thomas St.,
The Digital Hub, Dublin 8

The Digital Hub is also developing an archive of digital media projects
for learning and showcase purposes. Exhibitors will be asked to donate a
copy of their work to the archive. Full terms will be agreed with the
exhibitors after the selections have been made.

Further information on The Digital Hub is available at

Yours sincerely,
Nicky Gogan
Exhibitions and Special Events