Marisa actively contributes to the field, writing for many major art publications, ranging from magazines & exhibition catalogs to academic journals and chapters in books on the history and theory of media art. She has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork, whose Journal she edited. In 2013 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, Marisa has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, and Artists Space. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, EYEBEAM, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.
Marisa studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, Oberlin, VCU, UC-Boulder's Brakhage Symposium, Penn State, Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts, and Visiting Faculty at the School of the Art Institute of Chicago's Ox-Bow program. She previously taught at NYU's Tisch School of the Arts' new media graduate program and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She is currently Visiting Critic at Brown University.
This is the first installment of a monthly column by Rhizome's Contributing Editor Marisa Olson. "Media Studies" will explore timely issues within the broader field of technology. Each post will pay specific attention to the relationship between these subjects and artistic practice. For this column, Marisa provides a reading list on the topic of "Experimental Geography". In recent years, access to geographical tools and data collection has expanded rapidly, allowing many artists to rethink their relationship to the earth and geographical study. This column provides a summation of publications relevant to these developments.
Please join us tomorrow for a panel, organized by Marisa, on "Experimental Geography". Beginning at 3pm in the New Museum's theater, Creative Time curator Nato Thompson, who curated an exhibition of the same title for Independent Curators International, will lead a discussion with artists Lize Mogel and Damon Rich. - Ceci Moss
The following is an initial list of readings that might be of interest to anyone researching experimental geography. It includes key theoretical texts on the nature of space, texts on locative media, and works on radical cartography. Many of them cross over into game theory, cyberfeminism, relations between real and virtual spaces, surveillance, tactical media, psychogeography, situationism, sound art, networked cultures, site-specific installation art, and other related sub-themes. It's tempting to sort these into temporal or topical categories, but to do so might be to inappropriately compartmentalize an ongoing discourse that moves in new directions every day.
This is only a starting point. Please feel free to add texts in the comments. Links to related syllabi would also be a great resource!
Janet Abrams and Peter Hall (eds), Else/Where: Mapping -- New Cartographies of Networks and Territories, Univ Minnesota Design Institute, 2006
Saul Albert, "Locative Literacy," Mute, July 12, 2004
Marc Augé, Non-Places ...
If you're not already familiar with UBERMORGEN.COM, now would be a good time to get acquainted. The duo formed by Hans Bernhard and Lizvlx came onto the tactical media scene in the days of Toywar. When the Bernhard-founded group etoy was taken-on by e-commerce retailer etoys.com, the artists successfully brought the company down, thus providing a keystone moment in the perpetual headbutt between artists and corporations and launching the press release as the tactical media artist's weapon par excellence. In the spirit of many a corporate breakup, the participants in Toywar went on to funnel their win into the launch of new brands and creative identities. Notable among them are the Yes Men and UBERMORGEN. Taking as their name a German word that refers to the perpetual hope of a better tomorrow, the focus of UBERMORGEN's projects has been centered largely around legal issues related to copyright and surveillance. These works include [V]ote-Auction (2000), in which they attempted to auction-off a US Presidential vote to the highest bidder, and the Rhizome-commissioned project Google Will Eat Itself (GWEI) (2006), and "autocannibalistic model" in which revenue from auto-placed Google ads was used to buy Google stock, with a business plan to turn ownership of Google over to its users. In collaboration with Paolo Cirio and Alessandro Ludovico, Lizvlx and Bernhard recently took on Amazon.com in a duel that pitted their "robot-perversion technology" against the company's proprietary book preview software. According to the artists, their copyright-busting book-downloading tool was eventually sold to Amazon for an "undisclosed sum," but the story of the face-off (entitled Amazon Noir, 2006) floats among the ranks of other tactical media mythologies--not unlike some of the projects by their frequent collaborators 0100101110101101.org--demonstrating that ...
Artists often loathe living in the shadow of their older, more famous works. But it is difficult to begin an article about John F. Simon, Jr. without paying homage to his 1997 project, Every Icon. The brilliant algorithmic piece exists on a 32x32 pixel grid, in which any element of the grid can be colored black or white. As it crunches through the billions of possible illuminative patterns, it will--at least theoretically--eventually display "every icon" possible. The work, itself, has become iconic. It's often the first work of art shown in lectures about internet art, and while the code behind the work speaks volumes about the speed of behind-the-scenes technological development, the resultant display is a testament to the poetic beauty and creative potential of a few simple lines and squares. This marriage of sublime potentiality and mathematical complexity has continued to be the cornerstone of Simon's work over the last ten years--as we might expect from an artist who managed to snag the URL numeral.com! Simon is now enjoying his first Italian solo exhibition, in the form of a ten-year retrospective at Collezione Maramotti (Reggio Emilia, IT), entitled "Outside In: Ten Years of Software Art." The exhibit presents work from 1999 to the present and the title might refer both to the show's ability to "zoom-in" on an artist's oeuvre or the way in which Simon's relationship to code and form has changed over the years. After making a professional leap from science to art, Simon's early works treated code like a specimen. Akin to a microscope whose focus is pulled back to reveal the larger sample, his work has progressed in a way that now ...
(Installation shot from Zero1 Biennial, San Jose Museum of Art, 2008) Courtesy of the artist
Let's face it: A lot of new media art is mystifying. Shih Chieh Huang's work is mesmerizing. Of course, his installations have much in common with other media art. They light-up and like to be exhibited in dark rooms, they often employ electronic circuitry and robotics, and they are dynamic rather than static--his works move, blink, and make noise. But it somehow seems just as appropriate to connect Huang to the vocabulary of kinetic art (where there have indeed been many media innovators) than to link him exclusively to interactive art. Typically, his work is only interactive insofar as it stimulates deep visceral and emotional responses, but then by that barometer we might as well acknowledge that all art is potentially interactive... In Huang's work, the subject of high technology is perhaps even more important than using high tech media. The artist is a big fan of dollar stores and recycle bins. He collects cheap toys, plastic water bottles, and small, often overlooked colorful trinkets to assemble into what often feel like synthetic life-forms. A series of neon zip ties become a prickly spine for a shrimp-like character, while glowing wire tendrils embody other sea creatures' tentacles. Throwing in a little colored water, some LEDs, and plastic bags that appear to breath (earth, wind, and fire, anyone?), Huang gives us a candy-coated reflection of the media ecology many of us fail to see. In his current solo exhibition, entitled, "Connected: Eject before disconnecting," at the RISD Museum of Art through June 21st, the artist invokes the kind of right-under-our-noses, generally unspoken yet totally commonplace messages associated with personal computing. By doing so, he connects the ...
Last week I attended the NET.ART (SECOND EPOCH) conference in Buenos Aires, organized by Medialab-Prado. The subtitle, "The Evolution of Artistic Creation in the Net-system" speaks to the broad range of perspectives included at the conference and, indeed, the Madrid-based organization was able to draw participants from all over Latin America, including Argentina, Peru, Brazil, Mexico, and Chile to the week-long panel series, which was hosted by the Centro Cultural de España.
Most of the discussion at the conference centered around framing the history of net art, articulating its recent transitions, and assessing the current state of the field. There was a general agreement that while many critics declared net art dead after the fall of the dot-com economy, it in fact never went anywhere and is instead still thriving.
Minnesota-based curator Steve Dietz and Amsterdam-based critic Josephine Bosma presented keynote talks on the current state of the network and networked art. These talks were framed as "seminars," with each lecture followed by structured group debates. Dietz's talk was entitled "Beyond 'Beyond Interface': Art in the Age of Ubiquitous Networking." He proposed that we consider whether what we are seeing now as truly a second epoch of net art, or rather something more like art after networks. While his talk came before Bosma's closing lecture, the latter looked back farther in taking a different historical perspective. Bosma articulated five generations of networked artists, the first of which predated the public interest. Her paper was prefaced by a confession that critics always view work through the lens of the era in which they came upon the art scene, and that while she is considered an expert in the field, she now feels removed from the present generation of net artists who are no longer working within the "Net ...
Like most of the folks above, I too am a "forever member," from the days of the Rhizome Communications ascii RAW listserv and, later, fancy Dreamweaver/Flash "Splash Pages," to the present. Reena Jana and I were the first two paid writers (poached from Wired!), when Alex Galloway was running "content," which at that time meant programming and editorial--though Rhizome was declaratively non-editorial, so they just commissioned book & exhibition reviews, and some interviews from us that were fed into the RAW stream and included in the Digest as Features. Oy vey, I can still remember the cross-eyed weekly ritual of trying to untangle parallel conversations to reassemble them into a coherent thread for the Digest, when I was editing it--and the race to get it out by noon one day each week!!
I've seen Rhizome go through so many changes, and I've been a part of the back channel conversations on years of them, including huge ones that we decided not to go through with. I have to say that it's always hard to serve a membership-based organization, which is what Rhizome has always thought of itself as. But I can say that every change in content or form has been discussed critically, at length, and typically not without a degree of passion.
I am also biting my tongue because I *really* do not want to put words in any staff member's mouth (past or present), but I can say that I believe everyone who's ever worked there has taken their position as a labor of love, with users/reader/members/community (everyone has their favorite self-identification; semantics trolls please don't hate today!) in mind, and everyone has collaborated with the staff to bring a unique take on how best to serve you in the current creative and technological climate. For instance, I remember that my big objective coming in the door was wanting to change the mission statement to reflect not only net art and not only highly technological art, but also art that "reflects" on technology in a meaningful way. In fact, I think contemplating this change was very much a part of my conceptualizing Postinternet.
There is so much to say here, but I think I'd best sign off. This is not my soap box, and in some way, it feels weird to comment so much. I used to be a Superusing Megaposter, but as soon as I became Editor & Curator, I stepped back to focus on trying to facilitate and amplify other voices, which I do believe every Rhizome Editor has done in their own way.
I'll end with this, then. I'd be surprised if every reader, writer, or editor loved everything that ever appeared (structurally or content-wise) in their newspaper of choice. I'd be surprised if every curator or museumgoer loved every artwork shown (or every exhibition design decision) in their favorite museum. But it's the day we stop reading, stop going to look at art that disappoints me. It's the day Rhizome stops experimenting that scares me. And I wish them well on this new experiment.
Thank you for these points of clarification. I actually tried to convey (and forgive me if I failed) that your presentation was unique in identifying multiple generations of networked artists, and I particularly liked the way you talked about artists working before the internet in ways that anticipated network culture.
You also made that great point (via Hal Foster) about the ways in which critics' work is influenced by what is/ was happening at the moment they entered the art world. I admire how you helped pioneer new media criticism and yet have continued to stay on the pulse of new work. This is what I had in mind when recalling your point about your relationship to a previous generation of net-dot-artists, versus the artists of the era Inclusiva was calling the "second epoch." I just really liked the way you fleshed out more than two epochs and I wanted to highlight your catalyzing role in the net-dot-art scene, in particular.
In my own presentation, my intent absolutely was not to dismiss any previous artists, movements, practices, etc. It was simply to flesh-out one niche of new media art practice. In fact, I really liked the pointed questions that the audience asked afterwards, because it helped us have a really meaningful discussion about the problematic relationship of pro surfer work to art historical discourse, and my calls to action revolved around getting those artists to participate in learning about their own pre-histories and writing historiographies that situate their own trajectories on their own terms.
So I don't think we're in disagreement. But I appreciate your call to fine-tune my articulation of these scenarios.
I'm sorry that you found my article objectionable. I didn't intend to make the implications you suggest, but I believe your response cuts to the most interesting aspect of Laric's piece, which is the effect of remixing.
For those who care to review the lyrics to this song, they are here:
They include the refrain:
Touch my body
Put me on the floor
Wrestle me around
Play with me some more
Touch my body
Throw me on the bed
So, in fact, I do think that Carey's lyrics (and video) invite sexual fantasy, but my article doesn't say that she is asking to be violated, it says that she's asking to be remixed. Of course, the slippage between the two that you identify is what's so interesting.
In an interview with Laric, he told me that he noticed that the video takes-on an increased sexual tone when all but Carey is masked out. He was interested in how this first-person invitation to "touch my body" could be construed as an invitation to remix the visage of her body (and/or the voice emitted from it), particularly given (a) the implicit link to digital culture embodied by both the lyrics and video, and (b) the fact that the remix is now such an important part of the media ecology of pop culture.
In the last 25+ years of pop music, lining-up celebrity remixes and making singles remix-ready has been an important part of the production cycle, often preceding the release of the original recording. Almost all historical accounts of Madonna's rise to fame cite her relationship with DJs and openness to remixing as a key factor in her success. So while you may see the remix as a violent act, clearly those participating in this industry see it as an imperative.
Discussions of why a remix is or isn't violent are interesting, as they get to questions of the status of the digital reproduction. Are we remixing a person or "just" her image, and what's the difference when thinking about how a person's identity--particularly a famous person's identity--hinges upon their image? Carey's image was already manipulated before it came to us. In the interview with Laric, he pointed to a segment in the original video in which the shape of a cup becomes distorted as a result of distorting the footage to make the singer standing behind the cup appear slimmer. So this is already not her. If you listen closely, I believe there is also a question as to whether all of the voiced parts of the song are her, so the audio issue adds another layer to the phenomenological question of the brute force of the remix.
These issues of the import of the remix, the relationship to broader pop culture (rather than an insular art world), collective authorship, and the nature of Carey's invitation are what I hoped to address in this article.
You've been an awesome colleague, Patrick! Thanks for everything!