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No Matter


Turbulence Commission:
<strong><a href="http://transition.turbulence.org/works/nomatter">No Matter</a></strong>
by <em>Scott Kildall</em> and <em>Victoria Scott</em>
Part of the <a href="http://turbulence.org/mixed_realities/turbulence.html">Mixed Realities</a> exhibition, on view until April 15, 2008

<strong>NO MATTER</strong> is an interactive installation that activates the transformation of imaginary objects through the Second Life virtual economy into physical space. Second Life builders construct replicas of famous buildings, luxury goods and custom-designed objects, first reproducing, then inverting the notion of value itself. With zero cost for gathering resources, production of goods and transport of finished product, these items proliferate widely and quickly. In the real world, consumer items and imaginary objects serve as forms of emotional attachment — projection screens for desire, fear and love. These idealized forms seem real but when actualized in Second Life, they simultaneously disappoint and fascinate.

Likewise, humans have long sought escape from the physical world through both stories and invention, creating “imaginary objects”, which embody the tension between the ideal and the real. These shared cultural artifacts surface in mythology (Holy Grail, Trojan Horse), literature (Tell-Tale Heart), film (Maltese Falcon), thought experiments (Schrodinger’s Cat) and impossible inventions (Time Machine). Second Life, an online social environment, offers similar possibilities of the imaginary. With 3D-simulated space combined with a virtual currency and social interaction, this is a fully functioning economy of the immaterial.

<strong>NO MATTER</strong> reflects this tension between the imaginary and real economics by (1) commissioning 25 builders and artists to produce 40 cultural artifacts in Second Life space; (2) paying them in Linden dollars at an equivalent scale of $1.50 to $12.00 per object; (3) extracting the objects from Second Life — a closed system where 3D models cannot be exported; (4) inviting volunteers to reconstruct these as 3D paper replicas in physical space and paying them the equivalent wages in Linden dollars.

<strong><a href="http://slurl.com/secondlife/Leodegrance/250/96/47/?title=No%20Matter%20Installation%20in%20SL">Teleport</a></strong> to the <a href="http://arsvirtua.com">Ars Virtua Gallery</a> in <a href="http://secondlife.com">Second Life</a>.

<strong>NO MATTER</strong> is a 2007 commission of <a href="http://www.turbulence.org/" target="_new">New Radio and Performing Arts, Inc.,</a> (aka Ether-Ore) for its <a href="http://turbulence.org/mixed_realities/" target="_new">Mixed Realities</a> exhibition. It was made possible with funding from the Andy Warhol Foundation for the Visual Arts.


<a href="http://www.kildall.com/">Scott Kildall</a> is cross-disciplinary artist working with video, installation, prints, sculpture and performance. He gathers material from the public realm as the crux of his artwork. Through this method, he uncovers relationships between human memory and social media technology. He has a B.A. in Political Philosophy from Brown University. In 2006, he received a M.F.A. from the School of the Art Institute of Chicago through the Art & Technology Studies Department. He has exhibited in Chicago, New York, Los Angeles, San Francisco, Toronto, Helsinki, Ireland, Spain and Romania. In the fall of 2006, he finished a conceptual art residency called The Future of Idea Art at The Banff Centre for the Arts. He followed this with a six-month fellowship at the Kala Art Institute focusing on remembrance in simulated worlds. He also works with Second Front — the first performance art group in Second Life. He currently resides in San Francisco.

<a href="http://www.redhotcoil.com/">Victoria Scott</a> is a visual artist who works with electronic media, sculpture and social relations, both materially and as conceptual metaphor. For over a decade she has researched and created large-scale installations, objects, digital prints and audio works. Her ongoing projects include the material depiction of personal simulations and psychological spaces within online environments and real life. She is also developing a series of batteries that are charged by emotional energy and microorganisms. Born and raised in Winnipeg, Manitoba, Victoria graduated from the New Media/Photo Electric Arts Dept., at The Ontario College of Art & Design. In 2003, she was awarded the full Trustees Scholarship to attend at the School of the Art Institute of Chicago within the Art and Technology Department. Scott completed her MFA in 2005. She has exhibited in Sweden, Mexico City, Toronto, Berlin, Boston, Miami and Chicago and is the recipient of grants from both the Canada and Ontario Arts Councils.




Turbulence Commission:
<a href="http://transition.turbulence.org/works/remote/"><strong>Remote</strong></a>
by <em>Neill Donaldson, Usman Haque, Ai Hasegawa and Georg Tremmel</em>

Remote connects together two spaces, one in Boston the other in Second Life, and treats them as a single contiguous environment, bound together by the internet so that things that occur in one space affect things that happen in the other and vice versa - remotely controlling each other.

From Feb 7 to April 15, 2008 you can see: <a href="http://maps.google.com/maps?f=q&hl=en&geocode=&q=Huret+%26+Spector+Gallery+Boston&ie=UTF8&ll=42.35282,-71.065471&spn=0.004202,0.005214&z=17&om=0" target="_new">The Remote chair in Boston</a>, Huret & Spector Gallery, Emerson College; <a href="http://slurl.com/secondlife/Seventh+Eye/26/101/47" target="_new">The Remote chair in Second Life</a>, Ars Virtua; and <a href="http://transition.turbulence.org/works/remote/" target="_new">Real time data from the two spaces</a> @ turbulence.org.

Communication between the two halves of this extended environment is a complex choreography coupling the environmental phenomena of humidity, temperature, light, speech, mist, wind, sound and proximity across the two. The object in Boston appears to be a seat; but, experientially, the Second Life space appears to be inside the seat. A similar alteration of scale occurs in the other direction. Visitors to the Boston space and the Second Life space must negotiate to achieve goals: e.g. by sitting down, breathing, touching, knocking, colliding.

<em>Imagine that hidden underneath the chair in Boston is a chair in Second Life (SL). But under the big chair in SL is a smaller chair (which looks a lot like the Boston chair). So under the SL small chair is the Boston chair, etc. etc. etc...</em>

<strong>Boston's effect on Second Life:</strong>
- as <strong>humidity</strong> around the chair in Boston rises, the <strong>amount of mist</strong> around the SL chair increases
- as the <strong>light level</strong> falling on the Boston chair decreases (for example when you sit on it), the fog in SL <strong>gets darker</strong>
- as the <strong>temperature</strong> rises in Boston, the lamp in SL <strong>changes from blue to red</strong>
- as the light level on each side of the Boston chair changes (e.g. if you <strong>sit on it and wiggle from side to side</strong>), the SL chair starts to <strong>wiggle from side to side</strong> too
- the <strong>more times you sit</strong> on the Boston chair, the <strong>taller</strong> the SL chair becomes
- as <strong>time</strong> progresses in Boston, the SL big chair slowly <strong>rotates
<strong>Second Life's effect on Boston:</strong>
- as the <strong>number of avatars</strong> near the chair in SL increase, the Boston lamp will get <strong>brighter and brighter</strong>
- <strong>when someone sits</strong> on the SL small chair, the <strong>mist machine</strong> in Boston switches on
- if someone starts <strong>chatting</strong> near the SL chair, the lower blue fan in Boston starts blowing and <strong>pushes out the mist</strong> (if it's switched on... which means only if someone is sitting on the SL small chair!)
- every time an avatar <strong>collides</strong> with underside of the SL big chair, the Boston chair starts <strong>knocking</strong> underneath
- every time an avatar <strong>touches</strong> the SL big chair, it changes the <strong>colour</strong> of the Boston lamp
- as the <strong>wind in Second Life</strong> increases speed, the upper blue fan in Boston <strong>blows more strongly</strong>....

Watch a <a href="http://www.vimeo.com/671359/">video</a>.

The environmental data of both spaces is publicly available in realtime via the EnvironmentXML repository enabling others to build devices and spaces that connect directly to both the Boston and Second Life spaces.

- <a href="http://haque.co.uk/environmentxml/live/?q=selectlocation&locationid=128" target="_new">EnvironmentXML page for Remote chair in Boston</a>
- <a href="http://haque.co.uk/environmentxml/live/?q=selectlocation&locationid=127" target="_new">EnvironmentXML page for Remote chair in Second Life</a>

The intention is to explore an architecture that is resolutely "human" (in the sense of being inhabited, configured and determined by its occupants) yet context-free (because it does not privilege geographical location).

<strong>Remote</strong> is a 2007 commission of <a href="http://www.turbulence.org/" target="_new">New Radio and Performing Arts, Inc.,</a> (aka Ether-Ore) for its <a href="http://turbulence.org/mixed_realities/" target="_new">Mixed Realities</a> exhibition. It was made possible with funding from the Andy Warhol Foundation for the Visual Arts.


Voices from the Paradise Network


Networked Music Review Commission:
<strong><a href="http://turbulence.org/works/paradise">Voices from the Paradise Network</a></strong>
by <em>John Hudak</em>
with Flash programming by <a href="http://erational.org">erational.org</a>
[Needs Flash Player and speakers on]

John writes: <em>My mother-in-law passed away recently, reminding me of a technique that a parapsychologist named <em>Dr. Konstantin Raudive</em> (1906-1974) used to record what he purported to be voices of deceased spirits. With the amount of information moving around on the internet these days, and the passing of my mother-in-law, who I thought would want to get in touch (if possible), I thought I’d give <em>Raudive’s</em> technique a try within the digital realm.</em>

<strong>Voices from the Paradise Network</strong> is a 2007 commission of <a href="http://new-radio.org">New Radio and Performing Arts, Inc.</a>, for <a href="http://transition.turbulence.org/networked_music_review">Networked Music Review</a>. It was made possible with the funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.


<strong><a href="http://www.johnhudak.net/">John Hudak</a></strong> has been interested in sound and music from the age of four, when he began to play a variety of instruments. At the University of Delaware and the Naropa Institute for the Arts, he studied English, video, photography, creative writing and dance. John then began to create taped soundtracks for his solo performance-art/dance pieces, that later developed into audio, audio-video, and mixed-media pieces. Language has also been a predominant focus, and John has studied and published haiku poetry, the literary equivalent of the reductive, minimal, and nature-based sound forms that interest him.

John’s current work focuses on the rhythms and melodies that exist in our daily aural environments. These sounds usually remain hidden, as we tend to overlook their musical qualities; or, their musical qualities are obscured through mixture with other sounds. This work takes the form of audio CDs, web-based projects, mixed-media installations and performances. In simplified terms, what John is doing could be considered reframing and transforming sound in our environment so it can be noted, admired, and valued.


I Can’t Go On, I’ll Go On


Networked Music Review Commission:
<a href="http://turbulence.org/works/cant_will/index.php"><strong>I Can’t Go On, I’ll Go On</strong></a>
by <em>Haeyoung Kim</em> (a.k.a Bubblyfish)
[Needs Flash Player and Speakers On]

<strong>I Can’t Go On, I’ll Go On</strong> is an interactive art piece inspired by Samuel Beckett's short novel, "Molloy." The work is presented in two parts: a blog for you to contribute your thoughts about Beckett's writing; and the multimedia generated by your entries.

<em>"In 2007 I began to learn to ride a bicycle. This for me was a choice not so much determined by reasons of pleasure but as a way of manifesting my need to literally move on with my life. Around the same time, I began to read Beckett's famous Three Novels, and was moved in particular by "Molloy." Bicycles are a very important metaphor in this book."</em> Haeyoung Kim<!--more-->

<em>"To escape their lack of freedom, Beckett's characters travel, taking with them a few private possessions, which reflect their personality. Of these emblematic items, by far the most important is the bicycle: it is a moving man-powered machine made for traveling (which can be both easy and difficult, according to the conditions prevailing); and it is also a prized possession through which an owner may express his personality. In this respect the bicycle is like the plot."</em> Janet Menzies

<strong>I Can’t Go On, I’ll Go On</strong> is a 2007 commission of <a href="http://new-radio.org">New Radio and Performing Arts, Inc.</a>, for <em><a href="http://transition.turbulence.org/networked_music_review/">Networked Music Review</a></em>. It was made possible with funding from the New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors.


A sound artist, composer, and audio engineer, <a href="http://www.bubblyfish.com/"><strong>Haeyoung Kim</strong></a> explores the territory of sounds in electronic music. Currently, under the name <em>Bubblyfish</em>, she has been creating 8-bit and experimental sound works. Haeyoung has collaborated with many respected sound and visual artists such as Malcolm McLaren, the founder of Sex Pistols, Hans Jochim Rodelius, and the Brussels based media art group, Lab[au]. Her work has been presented in art venues, clubs, festivals, and galleries internationally including The American Museum of the Moving Image, Pompidou Center, Kunsthalle Wien, MUTEK, LABoral, Lincoln Center Walter Reed Theater, and The New Museum.


iPak - 10,000 songs, 10,000 images, 10,000 abuses


Turbulence Commission:
<strong><a href="http://turbulence.org/Works/iPak/index.php">iPak - 10,000 songs, 10,000 images, 10,000 abuses</a></strong>
curated and engendered by <em>Ajaykumar</em>

<strong>iPak - 10,000 songs, 10,000 images, 10,000 abuses</strong> (iPak) is a playful, inter-active and participatory art work, that integrates your creativity, the random generation of works by a computer, and art engendered by <em>Ajaykumar</em>. <strong>iPak</strong> synthesises conceptual innovation, social engagement and therapeutic process: generative art as re-generative force; art-making as a medicine; inspiration emerging from tragedy; and the notion that social factors -- such as marginalisation and racism -- cause mental illness. Ajaykumar</em> has created the foundation for a ‘polyphonic’ narrative, one created by many stories -- yours essentially. You can upload still images, movies, texts, music, sounds, and ideas, to create a dynamic, evolving, relational entity in cyberspace. <strong>iPak</strong> fully comes into ‘being’ through your participation.

<strong>iPak - 10,000 songs, 10,000 images, 10,000 abuses</strong> is a 2007 commission of <a href="http://new-radio.org">New Radio and Performing Arts, Inc.</a>, (aka Ether-Ore) for its <a href="http://turbulence.org">Turbulence</a> web site. It was made possible with funding from the National Endowment for the Arts. Its production has also been funded by Arts Council England. "iPak" has been researched, developed, and realised through a digital media bursary and support from Artsadmin (UK), funded by Arts Council England; as well as through collaboration with Re-Active (Italy). "iPak" - is a research project of Goldsmiths University of London, curated and engendered by Ajaykumar.


<a href="http://ajaykumar.com">Ajaykumar’s</a> art and research focuses on ‘being’: interrogating notions of ‘relational being’, ‘the being of a space’, and ‘non-anthropocentric being’. It is concerned with engendering new epistemologies in ontological art practice: through reappraising Buddhist, Tantric, and Animistic processes; through investigating the contemporary pertinence of a hypothesis of 'dependent origination' beyond its original Buddhist cultural and religious significance, particularly with regard spectatorship, ludic, performative, and pedagogic processes.

Ajaykumar teaches at Goldsmith’s College, London. His current courses include: Technology, Art, and Being; Narrative Construction in Film; Notions of void, emptiness, and 'an art of spectatorship' in Japanese Art and Culture; Multi-Media and Site-Specific Art. He is a member of the University of Arts London Research Centre, Transnational Art, Identity and Nation (TrAIN); and a co-director of the Shapes Design Studio where he is collaborating with an architect and product designer to engender furniture, lighting and gardens that come into 'being' through the play of others.

Ajaykumar studied fine art, film, and performance at Chelsea College of Art and Design, London College of Communication, University of the Arts London; the Institute of Education, University of London; and at the Royal College of Art.