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

The Museum of Lost Interactions


0casecommuni.jpgGraham Pullin asked his 3rd year students in Interactive Media Design in Dundee to engage with a history of interaction design that is much longer than that of digital electronics, and reflect on the social as well as technological changes that have taken place. They had to research Lost and Dead Media (cf. miss.gunst's post on the Found Tapes Exhibition and Zoe Irvine's Magnetic Migrating Music project) and build working models (using found objects and MaxMSP on iMacs) of fictitious historical products that might have been lost precursors to modern products and media. To underpin their authenticity, they filmed documentaries with archive film footage, and uncovered contemporary photography and packaging.

The result is the fabulous, quirky and poetic Museum of Lost Interactions (MoLI).

Examples (each of the projects deserves a post but i had to choose two of them. Some readers complain that i blog too much):

The Case Communicator, developed in 1936, was a laptop/PDA in a briefcase. This portable electronic workstation allowed male executives to get a 24/7 link to their secretary. Through the connection stream, the businessman is connected to the developers' switchboard where his personal 24 hour secretary is ready to fill his "every need" (news headlines, favourite music and schedule.) A project by Alison Thomson and Shaun McWhinnie.

Conceived at the beginning of the 70s, Pester (the Portable Enhanced System for Telecommunication Entertainment and Recreation) is the first smart phone. It contains a cassette player, camera and games as well as a phone.

0pesterr3.jpg 0pesterr22.jpg

Pester relied on a wired network using Connection Points positioned at convenient locations (parks, shopping centres and restaurants as well as regular sites along streets.) These Connection Points allowed callers to access an operator who could let them communicate with landline users, fellow Pester owners and also ...

READ ON »


Dispatx - New Edition : Improvised Maps


David Stent:

Dispatx - New Edition : Improvised Maps

We're pleased to announce the publication of the sixth edition of Dispatx, which coincides with a complete redesign of the website. Curating and developing works from poets, photographers, painters and writers, for this edition we once again present an extremely diverse set of responses to the notion of Improvised Maps. These works - which can
be seen in Show (http://www.dispatx.com/show/). - include a dozen projects developed online over the last five months and seven additional submissions including work from Gonzalo Puch, Denis Masi, Andrea Brady and Enrique Vila-Matas.

In addition we would like to announce that the exploration of the theme Eminent Domain can now be followed on a daily basis. Until June 2007, the Make area of the site (http://www.dispatx.com/make) will feature the work of seventeen projects chosen to explore the theme. These include works by Emanual Licha, Juan delGado, and Paulina Varas. Through making comments on the artists' process in Make, site visitors forms a part of this organic process.

We have provided a series of tools specifically for the visitor, allowing you to create private collections, leave comments, and subscribe to RSS feeds for the projects that interest you the most. To familiarize yourself with these changes, please take the site tour (http://www.dispatx.com/index.php?tourId=MyDispatx) Dispatx provides the tools of a socialised internet for the development and presentation of contemporary art and literature.

Visitors are invited to interact with the artists via the online display of their working processes, and to create unique private collections of the finished works. Through this process we seek to establish a new curatorial discourse based on artistic working practices.

Dispatx is a curatorial platform that provides the tools of a socialised internet ...

READ ON »


Networked Theatre of the Oppressed


back_shakira_sl.jpg

Second Life Theatre Group Meeting

Networked Theatre of the Oppressed :: First informal Second Life theatre group meeting in Bootlab Berlin :: Sunday February 6, noon (brunch time, 12.00 h) :: Tucholskystraate 6.

The dictatorship of the bourgoise melodrama stage has been an inspiration to living theatre, Brecht, Boal, and many. By combining the poetics of storytelling, digital narrative and network performing, the ghostly streets of Second Life become an open stage where the practice of everyday life becomes the raw material for political intervention thru classical drama, literature and net.art techniques. It is time for the triple alienation of the cyburbian multitudes!

Second Life's publicity is generated outside of the internet based on old media PR, circumventing the rest of the net. It is a newbie honeypot, or a themepark for cyberspace history most of all it is a "opera buffa" a theater of vulgarities, and shallow motivations, certainly more reality than what the cultural institution of the theatre has to offer today.

In our first 2 hour practise meeting we want to discuss possibilities of stage design, choreographic moves, myths and topoi, requisites and figurines, sketches of existing 3d datasets and scripting knowledge, we want to identify interesting text resources and invite people researching the field, detecting possibilities for a theater of net.art 2.0 etc. pp. not just revolting but playing with the zombie cybermyths of SL.

The Second Life can not be lived rightly...

- - how can you have virtual sex and no virtual communism?
- - between underworld and purgatory, spaces for the organized networks of death
- - did 1995 avatar utopia needed lindon economy to reach the masses.
- - there are more than 3 million condemned waiting for liberation.
- - come and sacrifice your pets at a pergamon temple.
- - a virtual world is impossible. lindon dollars are halluzinogenic.
- - california ...

READ ON »


Jillian Mcdonald and Carlo Zanni at artMovingProjects


Aron Namenwirth:

We invite you to artMovingProjects  166 N. 12th St, between Bedford and Berry Sts., Williamsburg (917-301-6680, 917-301-0306).  Subway: L to Bedford Ave. Thu- Sun, 1pm - 6 pm. 

Jillian Mcdonald. January 27th 7-9pm  through March 18th  Opening Night Performance 8pm

www.artmovingprojects.com. info@artmovingprojects.com   

Zombie Loop 2-channel video, 2006 - My new body of work, Horror Cycle concentrates on the manufacturing of fear as entertainment that the horror film genre accomplishes. Unlike contemporary horror films, this work offers no extreme violence, little gore, no character development, and zero plot. These are stripped away in order to highlight the protagonists and their dilemmas. The zombie, among other "undead" monsters, is the definitive horror creature thanks to its abject existence - robbed of identity, neither fully dead nor fully alive, neither clever nor resourceful, and driven only by its hunger for flesh. The central dilemma of the sub-genre of zombie films is that the survivor must outrun and therefore outlive the zombie. Victims turn into zombies, therefore to be caught and find oneself zombified is the most horrifying resolution. The sub-genre plots survivors on the move and ever vigilant, or temporarily holed-up and sleeping with one eye open. It is impossibly difficult to escape zombies, despite the fact that with little exception they move agonizingly slowly. Although it should be easy to escape them, the earliest victims are those paralyzed by their own fear. Zombie Loop is a two-channel video in which projections on two opposing walls position the viewer in the center of a visual loop, wherein a gruesome zombie endlessly pursues a running survivor. On screen, I "play" both zombie and survivor. The video tracks are the same length. The zombie, prepared with professional make-up and filmed from the front stumbles, expressionless but threatening, towards its goal of catching ...

READ ON »


under.ctrl: KONTROL Online Magazine


kontrol.png

The Pornography of Fabricating Fear

KONTROL online magazine launches its first issue! :: Perspectives on control in the course of contemporary art, culture, technology, information channels and politics.

KONTROL is designed as an online magazine in English, featuring articles, interviews and reviews specifically on issues of control. The magazine has developed as part of the �under.ctrl� project by NOMAD. The editors of KONTROL are Basak Senova and Yane Calovski. The materials which are assembled for each issue will be structured around a sub-theme, include articles, reports, analytical studies, interviews, art projects, and photographs.

The sub-theme of this first issue is �the pornography of fabricating fear�. Contributors of the first issue are Inke Arns, Daniele Balit, Taeyoon Choi, Sebastian Cichocki, Maia Damianovic, Christoph Draeger, Marina Grzinic, Jeanne van Heeswijk, Glenn Ligon, Geert Lovink, Suzana Milevska, Ceren Oykut, Igor Stromajer, Tul Akbal Sualp, Zaneta Vangeli, and Ana Vujanovic.

KONTROL is designed by kuzudesign.com and hosted by NOMAD.

READ ON »