mark cooley
Since 2002
Works in United States of America

PORTFOLIO (9)
BIO
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.

http://www.flawedart.net

Memorious


memorius

Paul Murnaghan is offering to sell part of his memory capacity. This is in order to create a monument* to the recollections of any interested party. Individuals that wish to preserve the memory of some moment, person or obsession should get in contact with Murnaghan at one of the contacts below. A meeting will be arranged where the memorious content will be communicated and stored in the artist’s brain. Due to the fallibility of the human memory and its continual exposure to contaminating influences, the substance of the monument may corrupt over time. The possibility of pollution by other experiences is seen as an inevitable part of this process. No test of recall or future examination will be entered into.
A text version of the memory will be wax sealed inside of a certificate of authentication. The sole copy will be offered to the purchaser as a precise record of the content of the described recollection. The monumentalizing of this content does not bear witness to its validity or act as ‘evidence of truth’ within the inherent material.

E: mail -AT- memorious.info T: 00353 1 4542254
*Monument fee is determined by purchaser.
Offer is valid 14 - 28 January 2006 only.

Posted to

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Prix Ars Electronica 2006


prixars06.gif

International Competition for Cyberarts

The Prix Ars Electronica - International Competition for Cyberarts is being conducted for the 19th time in 2006. In addition to the classic categories-Interactive Art, Net Vision, Computer Animation / Visual Effects and Digital Musics-Digital Communities and [the next idea] Art and Technology Grant competition that debuted last year will be reprised.

Online Submission Deadline: March 17, 2006; Total Prize Money: 117,500 Euro; 6 Golden Nicas; 12 Awards of Distinction; Up to 12 Honorary Mentions in each category.

INTERACTIVE ART: The "Interactive Art" category is dedicated to interactive works in all forms and formats, from installations to performances. Here, particular consideration is given to the realization of a powerful artistic concept through the especially appropriate use of technologies, the innovativeness of the interaction design, and the work's inherent potential to expand the human radius of action.

COMPUTER ANIMATION/VISUAL EFFECTS

The "Computer Animation / Visual Effects" category has been part of the Prix Ars Electronica since its very inception. It recognizes excellence in independent work in the arts and sciences as well as in high-end commercial productions in the film, advertising and entertainment industries. In this category, artistic originality counts just as much as masterful technical achievement.

DIGITAL MUSICS

Contemporary digital sound productions from the broad spectrum of "electronica" come in for consideration in the "Digital Musics" category, as do works combining sound and media, computer compositions ranging from electro-acoustic to experimental music, or sound installations. This category's programmatic agenda is to expand horizons beyond the confines of individual genres and artistic currents.

NET VISION

The "Net Vision" category singles out for recognition artistic projects in the Internet that display brilliance in how they have been engineered, designed and-especially-conceived, works that are outstanding with respect to innovation, interface design and the originality of their content. The ...

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draw-something


Zev Robinson:

just to be clear, no I'm not downplaying a programmers part in creating
anything, and, also I'm not outsourcing the programming. Adrian Marshall and
I collaborate on our projects with a lot of testing things out, back and
forth on ideas, how it is working, etc.

I know people who outsource their paintings, let assistants make all sorts
of decisions including what colors to use, and then claim it as their own,
and sell it for a lot of money. Movies and medival cathedrals are huge
collaborative efforts, with various people contributing their various areas
of expertise. Some photographers insist on doing their own
developing/darkroom work, others are happy to let others do it for them.

It's a question of choices and priorities. So how you, Dirk, Pall, or anyone
else, are, what you do, or create, is up to you, but doesn't mean that it
should apply to anyone else. I may find something interesting or not, I
might like something or not, but it's the variety of approaches that is
interesting.

I've also had repeated experiences with works of art over the years, mainly
paintings that I go back to look at, but also music, literature, films. Each
time my perception of them is different, so in that sense there is no
repetition.

I'm also not sure if true randomness exists or not, or if it's all
fate/destiny, or a combination of the two. But much, much better pseudo
randomness than pseudo certainty.

Zev

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CALL FOR PROPOSALS: SoEx OFFSITE


Alison Sant:

CALL FOR PROPOSALS: SoEx OFFSITE

An opportunity for emerging artists to develop and create new public works in San Francisco that investigate diverse strategies for exploring and mapping public space.

SOUTHERN EXPOSURE OFFSITE:

Southern Exposure's 2006-2007 Exhibition and Artists in Education programs will move beyond the gallery walls in order to present new forms of work in public space. Southern Exposure will temporarily relocate in the summer of 2006 so that the building that we have always called home at Project Artaud can undergo a seismic retrofit and upgrade. Southern Exposure is utilizing this unique opportunity to extend our programs into the public realm. Southern Exposure, founded in 1974, has a long history of presenting community-based projects. Through this new program, Southern Exposure has a goal of encouraging artists to work experimentally in public space, enabling artists to develop new works that could not otherwise be realized, and generating a critical dialog about emerging creative practices.

For more information go to www.soex.org or call 415-863-2141.

This program is made possible through the generous support of the National Endowment for the Arts and the Andy Warhol Foundation for the Visual Arts.

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Outside the Box in the Can


Outside the Box: Jud Yalkut Outside the Box: Toni Dove Outside the Box: Lev Manovich

Seth Thompson of Wigged Productions recently completed Outside the Box: New Cinematic Experiences, a half-hour documentary featuring interviews with Cory Arcangel, Toni Dove, Lev Manovich, Jud Yalkut, and, curiously, one interactive but less cinematic guy, me. (These are links to the bios on the Wigged site.) The DVD is available on the site and is being shown on various stations worldwide, for instance, here in Philadelphia on DUTV, cable channel 54, on January 10th, February 7, and March 7 (Tuesdays) at 10:30pm; Jan 13, Feb 10, March 10 (Fridays) at 11:30pm; and the weekends afterwards at 6:30pm and 1:30am.

Outside the Box: Cory Archangel Outside the Box: Nick Montfort

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