Michael Connor
Since 2002
Works in Brooklyn, New York United States of America


Five Years Later, Kev Has a New Website


Kev in one of his favorite meditation places, an old rock quarry upstate.

Kev Bewersdorf and I had been neighbors for months before we met. When we did, it was because he needed gas for his generator, but I didn't have any.

At that point, he had already deleted all of the images, texts, and music he'd once posted online. But previously, 2008ish, I had followed his work avidly. He used to have a website called Maximum Sorrow consisting of texts and artworks connected with his "philosophy of 'corporate spiritualism' realized through marketing practices and continuous web surfing." Bewersdorf also pursued this interest in web surfing through his occasional participation in Nasty Nets and his role as co-founder of Spirit Surfers (with Paul Slocum and Marcin Ramocki). (For those who can't remember a time before Tumblr, these were surf clubs, or artist-run collaborative blogs to which members would post found and created images, texts, gifs, and tracks.)


Aleksandra Domanović's Internet Realism


From yu to me (2014). Still frame from single-channel video with sound.

Aleksandra Domanović's From yu to me was commissioned by Rhizome, Abandon Normal Devices, and Fridericianum. View the work and read an accompanying text by Brian Droitcour here.

"Every map of the internet looks the same."

Multi-directional trees, hubs and spokes and branches, clouds of varying density: to Alex Galloway, writing in his book The Interface Effect, the many attempts to visualize information society all begin to look the same. Maps of the internet, he argues, tend to conceal more than they reveal; the main purpose they serve is to dazzle the beholder with the complexity of it all.


A Surf Session with Cory Arcangel


Arcangel Surfware.

On Saturday, May 17, artist Cory Arcangel will present a solo exhibition and pop-up store, "You Only Live Once," at the Holiday Inn New York-Soho, featuring a new clothing and lifestyle merchandise line, Arcangel Surfware. We met for a session at his Brooklyn apartment to talk about surfing tricks and habits, gear, and how things change for each generation of surfers.

Can you start by showing me something from your browsing history?

Most, I'm not going to say all the time, but more often than not, my deep surfs revolve around late-80s/ early- to mid-90s metal. (Laughter.) I've been going deep into Steve Vai lately.... Here's all my Steve Vai searches.

Wow, that's a lot of Steve Vai.


Seven Big Ideas from Seven on Seven 2014


Frances Stark and David Kravitz during the Seven on Seven work day. Photo: Ed Singleton.

The fifth anniversary edition of Rhizome's Seven on Seven took place on Saturday. The project pairs seven leading artists with seven influential technologists in teams of two, and challenges them to develop something new–whatever they choose to imagine—over the course of a single day. The results were unveiled to the public on Saturday at the New Museum, and are recapped here.

#1. Occupy invented #normcore

In the keynote, Kate Crawford suggested that K-Hole's #normcore trend report, as well as the Snowden-leaked GCHQ Powerpoint, could be read as manifestations of the anxieties of an age of mass surveillance, those of the surveillers and those of the surveilled.


Shana Moulton and Nick Hallett's 'Whispering Pines 10' on Art21


Wake up, sleepyhead. Art21 just posted their profile of Shana Moulton and Nick Hallett's opera, Whispering Pines 10, presented by Rhizome at the New Museum in 2011. Not only do Moulton and Hallett come off as the sweetest performance artist/composer collaborative duo ever, but the documentation of the projection-oriented opera isn't bad either.



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DISCUSSION

The Possibilities and Pitfalls of the Video Game Exhibition


And (also monologuing) the other question: is "firsthand gameplay of otherwise difficult to experience titles" the central attraction that an exhibition might hold for most serious gamers, or is Nicholas unique in this regard, as in so many others?

I can imagine that it is an important attraction. It seemed like he really wanted to play Quadrilateral Cowboy.

DISCUSSION

The Possibilities and Pitfalls of the Video Game Exhibition


Hi Jason, Thank you for the thoughtful responses! And thanks for making your comment here on the site. A lot of people chose to respond on twitter.com, a for-profit website that sells user data to advertisers.

I'm interested in this statement: "Just creating a space where visitors can encounter these games and be exposed to the story of the independent game is a success by those measures."

There is, for sure, some level of tension between the needs of general audiences and sophisticated visitors. But--and now I'm speaking more generally, not about your exhibition--I'm curious if this is the standard most larger-scale video game exhibitions are held to. Which video game exhibitions have worked especially well for more sophisticated gamers, like Nicholas?

And have any worked especially well for both the novices and the sophisticates? Like a Kubrick show, for video games.

DISCUSSION

CREATIVE 2 PROFESSIONAL: 7 Things to Think About


Hi Tom,

I'm going to make a note to come back and star this comment if we ever introduce that feature at some point in the future. So relieved that someone got upset by our use of a listicle.

But, I also disagree with your characterization of Mike's perspective; examples 3-7 are all focusing on companies (not users/"pathetic little people"); all of these companies want to sort of structure people's desire to express themselves in more truncated ways than those available to Scot Halpin or the punks.

I think the point of putting these two facets of amateurism (celebrated amateurs v commercial structures designed to enable amateur creation) in dialogue would be to suggest that there was some element of punk and the celebration of the amateur which has fed into the emergence of these rather depressing structures, and maybe Mike's recent practice has involved trying to identify more with the pathetic user than the Scot Halpin or the Ramones, because in our current context these kinds of figures have been so thoroughly instrumentalized in support of the creative class system of digital serfs and vassals (to borrow Jesse Darling's terms).

In contrast with Jesse, though, Mike seems more specifically interested in the implications of tools and structures offered to the "pathetic little people" rather than the people themselves.

michael

DISCUSSION

Art Criticism in the Age of Yelp


I found this comment funny and cool.

DISCUSSION

the original


I've updated its record in our Collective Access system (public launch forthcoming). Date found dead, 11/21/2013.