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


Now you can finally experience what it's like to commodify yourself on the internet


Last year, Rhizome awarded a $500 microgrant to Lena NW and Costcodreamgurl to create a game "that parodies celebrity status games (i.e. Kim Kardashian: Hollywood... but focuses on the concept of becoming an internet celebrity via social media." Their game is now here, and it carries with it one hell of a trigger warning: "graphic sexual violence, cultural appropriation, scat, bestiality, feminism, patriarchy, sexualization of school shooters, inconsistant use of fonts." Click here to play.

From the artists' statement:


Required Reading: Empathy & Disgust


 

Distaste or disgust involves a rejection of an idea that has been offered for enjoyment.

—Immanuel Kant, Anthropology from a Pragmatic Point of View, 1798

For the first time, this year's Seven on Seven will have an overarching theme offered to participants as a provocation: Empathy & Disgust.

Scene from Her

We chose this theme partly because of recent discussions about "affective computing," which aims to detect and respond appropriately to users' emotions. The field gained some visibility after the release of Spike Jonze's Her; writing for Rhizome, Martine Syms argued that the film could be read as "an elaborate product spec" for intelligent agents that can replace human relationships. Recently, a new crop of apps that function as "Intelligent Personal Agents" bring us a step closer to this future, while a more speculative app from Blast Theory offers a fully-fledged emotional relationship with a virtual character who gradually reveals herself to be "needy, sloppy, piteous, and desperate."

Some of the real-world research underpinning emotional analysis was discussed in New Yorker piece earlier this year, focusing on the work of Affectiva and scientist Rana el Kaliouby. The company is developing a tool called Affdex that can "make relable interences about people's emotions" based on video monitoring:

During the 2012 Presidential elections, Kaliouby’s team used Affdex to track more than two hundred people watching clips of the Obama-Romney debates, and concluded that the software was able to predict voting preference with seventy-three-per-cent accuracy.


Grappling with complexity, women in tech, and Leonard Nimoy: Perry Chen's Y2K


Screenshot of Leonard Nimoy in Y2K Family Survival Guide (1999). 

In December, Perry Chen organized a panel discussion at the New Museum (copresented with Rhizome and Creative Time Reports) exploring the phenomenon and legacy of the Y2K bug, as part of his ongoing project Computers in Crisis. Along with a presentation of books and video clips from the time, he assembled three Y2K experts to share their own experiences of preparing for 1/1/00, at which point many computer systems were expected to interpret the two-digit date as "1900" rather than "2000," with harrowing results. 


Ana Maria Uribe, Anipoems


 Ana Maria Uribe, Escalera 3 (1999).

Ana Maria Uribe (1951-2004) was an Argentine visual poet who made work online beginning in 1997 after working in other media for many years. When she passed away in 2004, Jim Andrews (who runs Visual Poetry website vispo.com) posted a moving tribute to her work on Rhizome's mailing list, including this quote in which she recounts her formative experiences as a poetry: 

I started with visual poetry in the late 60's after seeing some of Apollinaire's poems and Morgenstern's "Night Song of the Fish". Shortly afterwards I met Edgardo Antonio Vigo, who was then editing a magazine called "Diagonal Cero", devoted to visual poetry and mail art, and other poets such as Luis Pazos and Jorge de Lujan Gutierrez. They all lived in La Plata, a town which is 50 km from Buenos Aires, where I live, and we communicated by ordinary mail, either because there was a shortage of telephones at that time or to save costs, I don't remember which. I still keep some of the letters...

At a moment when many artists are again considering the medial qualities of poetry, Uribe's work seems well worth revisiting, particularly because (as Andrews noted, of her CD-ROM works) it reflected an understanding of "the poem on the screen as a performance." In the works, text is generally used pictorially (as with the ladder made of capital H's in the Escalera series), and rotated or otherwise manipulated to introduce a sense of motion into the scene. In the Rebote series, for example, the dots of lowercase i's bounce around playfully:


Required Reading: Paul Soulellis on Experimental Publishing


Image: Scott Gelber

It may seem odd to cite a syllabus as required reading, but this RISD class on Experimental Publishing offers a cogent way of thinking about what instructor Paul Soulellis, after de Certeau, calls the "scriptural economy." 

Let's begin with the post, exposing its origins as a physical note publicly nailed to a piece of wood. Its descendants persist today, plainly visible on the wall, in the feed and in the stream as traces of a deeper history of documents — the scriptural economy. Is posting (always) publishing?


Discussions (81) Opportunities (1) Events (1) Jobs (0)
DISCUSSION

OPPORTUNITY

Birth Rites Collection Bi-annual Award


Deadline:
Sat Feb 07, 2015 23:59

Location:
London, United Kingdom of Great Britain and Northern Ireland

Submissions for our Birth Rites Collection Bi-annual Award are now open!

Artwork can be submitted in any medium.
DEADLINE 7th February 2015.
Entry fee £10

The winner will receive a residency at the Women’s Art Library, Goldsmiths University, London plus a stipend and winning work to be included in the Birth Rites Collection, The University of Salford. Shortlisted artists will have thier work screened digitally at Media CityUK in the Egg Suite in March 2015.

The Birth Rites Collection is the first and only collection of contemporary artwork dedicated to the subject of childbirth. The collection currently comprises of photography, sculpture, painting, wallpaper, drawing, new media, documentary and experimental film. It is housed between the Royal College of Gynaecologists and Obstetricians in London and Salford University Midwifery Department.

Judges: Helen Knowles BRC Curator & Althea Greenan, Women's Art Library, Goldsmiths University, London.
For more info:

http://birthritescollection.org.uk/#/media-city-bi-annual-award/4587224707


DISCUSSION

Bodies on the Line


I fully agree about etiquette w/r/t social media being needed! I think in this case it's particularly complex because no one seems really clear on the object boundary - i.e., whether the social media response should be considered "part of the work."

It's hard not to read "monitoring social media channels" without an Orwellian spin.

Of course, that is exactly what we did by archiving Amalia Ulman's Instagram feed, although everything captured on it is "public" in the sense that anyone can see it, without logging in. In that case, we made the specific decision not to capture her Facebook feed, which has a greater expectation of privacy attached to it. Such archives undermine the contextual integrity of social media, and the balance between this and various arguments for the public value created by non-profit digital archives requires further analysis.

DISCUSSION

Bodies on the Line


I'm dismayed by your suggestion that Ryder is currently being subject to harassment tactics. As we and you and others have pointed out, Ryder is far from the only one of us whose practice has ethically unsound aspects at times, and to continue to demonize him is too easy, and unproductive. To harass him is certainly unconscionable. As Heather said above, we all feel sorry for the distress that we caused Ryder.

I'm also a bit dismayed by your attack on closed Facebook discussions. To argue that every viewpoint, however unpopular, must be expressed in full public view is in effect to advocate for censorship.

Also, two factual corrections.

First, saying that we planned to "monitor" social media is a distortion. We are working on archiving social media, but we're working through the ethical implications of this; I anticipate that this will take the form of working with communities and users and putting tools in their hands rather than "monitoring" them.

Second, you say on your blog that this "started" on private Facebook groups. Maybe, but from my perspective the conversation about 'Art Whore' get going on Ryder's own Facebook thread, not on a private group. (That's the thread that would have been most useful for Rhizome to archive I guess, if the tools had been ready at that time, and if it met our still-evolving ethical guidelines to do so.)

Ryder deleted that thread, and many of the extant criticisms of his project were gone by the time I began writing my article.

DISCUSSION

Rhizome Today: A critic, with opinions about postinternet art


The internet does have a short memory, and we are always struggling against this. But I find the constantly enforcement of indebtedness equally destructive to the idea of the internet as a "vital and contested site for artistic practice." Not only does this obscure the specificity of emerging practices, it also locks the older generation in a time capsule. People like Harwood/YoHa, Olia, Ubermorgen and JODI have all made really exciting work over the last six years that isn't just a rehash of their early careers. I think discussions of the fallacies of digital dualism and web objectivity, the idea of the internet as practice and not medium, questions of digital materialism and labor, and ideas of posthuman, networked cultural production--these ideas may have been present in net art and its precursors, but they have been elaborated in recent years in ways that may be in conversation with the past, but should be appreciated for their specificity, not written off with a world weary sense of deja vu.