mark cooley
Since 2002
Works in United States of America

Mark Cooley is an interdisciplinary artist interested in exploring the intersections of art, activism and institutional critique in a variety of contexts. Subjects of particular interest are U.S. foreign policy, corporate culture, and the political economy of new technologies. Recently, Mark has focused his attention on food production and consumption and the ways in which artists may mediate in these processes.

IP Collage


Distinguishes Participation from Interactivity

IP Collage--by Aphid Stern--is a participative net art piece in which the numbers of each visitor's IP address are added to an image. The four 8-bit numbers that make up the address are recontextualized into php's shape functions in the order they are required: x,y,w,h (x,y coordinate pair & width/height) as well as color: r,g,b,a (red, green, blue, alpha) to create a rectangle of a specific color (& transparency) at a specific location. Viewing the piece changes it permanently.

Generally, 'surfing the net' is thought of as a unidirectional process - one navigates information which comes from the server to the user. However, this is not the case. Every time a user visits a page the web browser transmits information - an IP address, information about the browser (make, model, version number, operating system), and referrer information (what was clicked on to get to the current page). This exchange happens unconsciously and the information provided is often aggregated for commercial marketing purposes.

IP Collage is an attempt to explore this exchange which lies beneath all web content and to use it as the basis for a productive relationship. In exchange for their IP address a user is presented with an image they may save to their local drive, print and/or exhibit.

IP Collage is also an attempt to break participation from interactivity. The piece is participative in the sense that the user directs the aesthetic of the piece, yet it manifests as a static PNG image; it is only interactive in as much as the browser provides interactivity - as it does to all images (much in the same way most video is only as interactive as a VCR.. & further establishing the dominant aesthetic of interactivity as navigation).

I have compiled a video archaeology of this piece, compressing the first year of its activity into one hour. Each frame of video represents roughly 4 minutes 33 seconds (a synchronistic testament to John Cage) of time between May 13 02002 and may 13 02003. It is currently in DVD and mpeg-4 formats, and I'm still trying to decide how to make it available as I am somewhat ambivalent about transforming a participative piece into a static video record. Feel free to get in touch if you'd like to see it. source code, as usual, is also available upon request.


Home-Maker has a new home online

Jeanie Finlay:

Home-Maker by Jeanie Finlay is now available to view online
What makes a house a home, how does this change if you can��'��"�t leave?

Home-Maker, the interactive documentary project has been touring UK venues for the last 2 years. At the final venue, Hatton Gallery, a team from Heaton Used furniture came in and turned off the computers, packed up the dolls, furniture and ornaments and dismantled the set as they would whenever they perform a House Clearance. Now the only place to view Home-Maker is online.

In an online flash environment built by Gareth Howell you can visit Florrie, Roy, Lilian, Betty, Aiko-san, Emi-san and Monji-san in their new online home and hear the stories linked to the belongings in their Derbyshire and Tokyo living rooms in over an hour of streaming mini documentaries.

"This largely unprecedented, highly novel approach to portraiture brings up all kinds of touching details of life as it is lived between four walls, amid the dreadfully small collections of significant belongings, haunted by the enduring presence of lost loved ones...." Mick Martin, The Guardian.

Home-Maker is the result of two residencies which took place in the living rooms of seven housebound, older people in South Derbyshire, England, and Tokyo, Japan. Jeanie Finlay spent time with each of the seven people, getting to know their histories, preoccupations and passions, creating video and panoramic portraits of each of them in their homes.

A Ruby project made with Peoplexpress and Muse Company. In association with On the Edge Research. Supported by Arts Council of England , EM Media, UK Film Council, YOTA and Esmée Fairbairn Charitable Trust. Design by Ruby. Flash online exhibition by Gareth Howell. Winner of a Canon International Digital Creators Web Award.
Jeanie Finlay
Ruby Digital
jeanie ...



SAVE THE INTERNET! Congress is now pushing a law that would end the free and open Internet as we know it. Read all about the proposed law and sign the petition.

More info at, The New Yorker and Business Week. Pass the word...

Nabbed from Fecal Face.


Turbulence Commission:



HRRAAGHP-TING!--by Olen Hsu, Dana Karwas and Steven Lam--is an Internet/video collaboration that connects image and sound filenames available on the web to create an infinite chain of associations. Extruded in real time, and in a linear format, they collapse the Internet�





(re)ACTOR: THE FIRST INTERNATIONAL CONFERENCE ON DIGITAL LIVE ART September 11, 2006 The Octagon @ Queen Mary, University of London London, England, UK, Deadline for 2-page submissions 26 May 2006. In cooperation with HCI 2006: ENGAGE; The 20th British HCI Group conference in co-operation with ACM

DIGITAL LIVE ART is the intersection of human-computer interaction (HCI), live art and computing. This conference seeks to bring together practitioners and academics from the varying worlds of live art, computing and human-computer interaction for a lively debate and event which will explore this emerging field. Our specific context focuses on club cultures as a living context for digital live arts practices. Our expected outcomes are to create a community of digital live artists and to present strategies for designing, developing and evaluating Digital Live Art. Such an event provides an opportunity to open up conversations between digital art and live performance and will allow us to explore how it is used to increase our understanding of human-computer interaction in general.

The notion of Digital Live Art is that of a hybrid art form which focuses on presence and presupposes the digital as a way of making live engagements. Our particular interest is in exploring the relationship that develops between performers, participants and observers within playful contexts and how Digital Live Art may move people to performative interaction and communal engagement.


The conference will include both daytime presentations and an evening ambient after party. The daytime event will include a keynote panel with Charles Kriel, Philip Auslander, and Jon Dovey.