Patrick May
Since 2002
Works in NY, New York United States of America

BIO
Patrick May is a programmer and painter. He founded the artist collective Open Ground and was the Director of Technology at Rhizome.org from 2006-2008.

May received a BS in Studio Art from New York University in 1999. His work has been exhibited in New York, Miami, and Berlin, including Maiden Brooklyn, ZONE: Chelsea Center for the Arts, and the Galerie Scherer 8. He currently works in Brooklyn, NY creating intimate portraits of his friends and family.

Artists Wanted Competition


Artists Wanted – an open call for submissions.

The current Art World is rife with uninspired work. Too often artists are elevated based on who they know instead of the quality of their work. Our goal is to up-end that process.

Artists Wanted is a new and ongoing program designed to promote the great undiscovered artists of our time. Those selected will receive $2007 cash, an inclusion in our annual publication, and a solo show at the 3rd Ward gallery in Brooklyn. Runners-up will be listed and linked on the website and have the possibility of being featured in our publication. Submission deadline: Sept. 21st. Submission fee: $25 for 3 images. No previous exposure necessary. We want the best, most talented, undiscovered artists. We want you.

All information about submission available through www.artistswanted.org.

READ ON »



Discussions (68) Opportunities (1) Events (1) Jobs (3)
DISCUSSION

Re: For: Rhiz admin... Rhiz.org/thread print function busted?


T.Whid,

Thanks for the heads up about this error. The links should now work
properly.

Cheers,

Patrick

--
Patrick May
Director of Technology
Rhizome.org
phone: (212) 219-1288 x202
AIM: cyclochew
+ + +

On Sep 13, 2006, at 1:24 PM, T.Whid wrote:

> Hi,
>
> Whenever I try to access the 'printer version' link on a Rhiz thread I
> get this error page:
>
> ++
> Forbidden
>
> You don't have permission to access /print/ on this server.
> Apache/2.0.55 (Unix) mod_ssl/2.0.55 OpenSSL/0.9.7a PHP/4.4.2
> mod_ruby/1.2.5 Ruby/1.8.4(2005-12-24) Server at rhizome.org Port 80
> ++
>
> Is there a permissions issue that needs to be adjusted?
>
> Thanks,
>
> --
> <twhid>www.mteww.com</twhid>
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/
> subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/
> 29.php

DISCUSSION

Re: capturing screenshots from SOD and Wolfenstein


Andrei,

Have you tried running SOD with dosbox:

http://dosbox.sourceforge.net/

Cheers,

Patrick

--
Patrick May
Director of Technology
Rhizome.org
phone: (212) 219-1288 x202
AIM: cyclochew
+ + +

On Jun 19, 2006, at 9:44 PM, Andrei Thomaz wrote:

> hello list,
>
> I need to make some images from SOD (by JODI) and Wolfenstein, but
> I can't capture anything using PrintScreen. Do you now some
> software I can use to make the images? I tried some DOS softwares,
> made to capture screens under DOS, but this didn't work too.
>
> thanks,
> andrei

DISCUSSION

mailia and mi_ga


Hello,

I have been in contact with mi_ga, the author of the mailia art
project. mi_ga has agreed to prevent mailia from responding to the
raw list. Since this project will no longer put the server at risk,
I have removed the block on mi_ga's ISP.

If you do not wish to receive mailia emails, please block the
messages using a rule in your email client.

Cheers,

Patrick

--
Patrick May
Director of Technology
Rhizome.org
phone: (212) 219-1288 x202
AIM: cyclochew
+ + +

DISCUSSION

Re: notes for a hypothetical essay on relocating the aura


First I thought we ought to forget about the aura / author, then I
was amused by the role of the "scriptor":

http://en.wikipedia.org/wiki/Death_of_the_author

~ Patrick

On May 27, 2006, at 3:43 PM, Curt Cloninger wrote:

> Walter Benjamin says that people used to attach an "aura" (roughly,
> sense of awe) to the scarce, original unique, physical art object.
> Benjamin observes that since everything is now infinitely
> reproducible, we've lost this aura.
>
> As an artist not making one-of-a-kind objects, where can I relocate
> the aura? To answer ,"In the network" is like answering "in the
> air," or "in time," or "in existence." I need a more specific,
> behavioral/tactical description of this new locus of awe and aura.
>
> Designer Clement Mok says designers should describe their practice
> not in terms of media deliverables ("I make websites"), but as
> doctors and lawyers do, in terms of services performed and results
> achieved. A doctor doesn't say, "I make incisions." A lawyer
> doesn't say, "I generate paperwork." This seems like a better way
> for a "new media artist" to describe her art. (Note: Even the term
> "new media artist" describes her in terms of media deliverables.)
> She shouldn't say, "I make net art." Better to say, "I cause x to
> happen. I orchestrate x. I'm investigating x." Thus in
> describing "where" I relocate the aura, I should avoid saying,
> "It's in the podcast, weblog, RSS feed, wearable mobile computing
> device, etc."
>
> As an artist, my self-imposed mandate is to increase a more lively
> dialogue with the Sundry Essences of Wonder. If wonder is akin to
> awe is akin to aura, I'd better figure out where to relocate the aura.
>
> ++++++++++++++++++++++++++++++++++++++++++++++++++
>
> There are four places I can house the aura that seem interesting:
>
> 1.
> In the destabilized/variable event/object. Generative software
> makes this possible. My bubblegum cards are a personal example
> ( http://computerfinearts.com/collection/cloninger/bubblegum/ )
> Cage and Kaprow are precedences. The aura is embedded in the
> chance and variability that the artist invites into the
> destabilized/variable performance.
>
> 2.
> In the perpetually enacted and iterated act/stance/position. My
> ongoing [remix] series of posts to rhizome RAW are a personal
> example. Ray Johnson's life/death and mail art, Joseph Beuys
> pedagogy, and D.J. Spooky's perpetual remix as talisman are
> precedences. Even Howard Finster, Daniel Johnston, and Henry
> Darger qualify, albeit in a less consciously tactical capacity --
> prodigiously outputting without thought of object uniqueness/
> scarcity/worth/market value. The act of perpetual creation is the
> art, and the output is (to greater or lesser degrees) incidental
> ephemera. William Blake almost qualifies. The stream is
> perpetual; it becomes the new "event object;" and in this stream
> the aura is embedded. Note: This approach takes lots of energy.
>
> 3.
> In the boundaries of context. Our Deep/Young Ethereal Archive
> ( http://deepyoung.org ) is a personal example. Precedences and co-
> examples are:
> http://www.mjt.org/ ,
> http://www.grographics.com/theysaysmall/small/RotherhitheUniversity/ ,
> http://www.museum-ordure.org.uk/ .
> http://
> www.thatwordwhichmeanssmugglingacrossbordersincorporated.com/ ,
> http://www.dearauntnettie.com/gallery/ .
> This approach necessarily involves disorientation and re-
> orientation. The contextual frame is soft, and the aura is embedded
> into this soft frame. Keeping this frame soft is a delicate
> matter. It requires a heightened, sometimes schizophrenic sense of
> performative awareness (cf: Ray Johnson, David Wilson). It may
> require the artist to alienate "real" art institutions wishing to
> fit the art into their frame. As the artist of such work, I can't
> overtly foreground the soft contextual frame as my intended locus
> of aura. If I do, the soft frame I'm working so hard to construct
> and keep soft immediately solidifies and is in turn meta-framed by
> a much more solid, didactic, "artist statement" frame; and the aura
> flies away. Note: Warhol well understood that an object's scarcity
> was a silly contemporary place for the aura to go. Instead, he
> ingeniously embedded the aura in the foregrounded concept of the
> object's scarcity. His deep awareness of this ironic relationship
> may explain why his art objects now sell for so much. (cf: http://
> www.dream-dollars.com/ ).
>
> 4.
> In human relationships. Personal examples might be http://
> www.lab404.com/data/ and http://www.playdamage.org/quilt/ . Co-
> examples might be http://learningtoloveyoumore.com , http://
> www.foundmagazine.com/ , and some of Jillian McDonald's performance
> pieces ( http://www.jillianmcdonald.net/performance.html ). You
> could describe this as "network" art, but compare it to Alex
> Galloway's Carnivore, which is also network art, and you realize
> "network" is too broad a term. This human relationship art is not
> about the network as an abstract monolithic cultural entity. It is
> about humans who happen to be interacting with each other via
> networks. The aura is embedded not in the network, but in the
> human relationships that the art invites. As with locus #1 (In the
> destabilized/variable event/object), this locus necessarily
> involves chance, because human relationships necessarily involve
> chance.
>
> These four places for housing the aura are not mutually exclusive.
> Conceivably, a single artwork could house the aura in all four
> places. This warrants further artistic investigation.
>
> curt
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe: http://rhizome.org/preferences/
> subscribe.rhiz
> -> give: http://rhizome.org/support
> +
> Subscribers to Rhizome are subject to the terms set out in the
> Membership Agreement available online at http://rhizome.org/info/
> 29.php

DISCUSSION

Server shutdown 12pm EST


Hello,

Rhizome.org will shutdown again tonight at 12pm EST to perform an
upgrade on the server. The work should take between 30min - 1 hour
to perform.

Cheers,

Patrick

--
Patrick May
Director of Technology
Rhizome.org
phone: (212) 219-1288 x202
AIM: cyclochew
+ + +