<a href="http://turbulence.org/works/invis/"><strong>Invisible Influenced</strong></a>
by <em>Will Pappenheimer</em> and <em>Chipp Jansen</em>
[Needs Flash plugin]
<strong>Invisible Influenced</strong> is a Rorschach test for envisioning the US as the recipient rather than the cause of worldwide events. Contrary to the notion of impervious superpower, the artwork projects the emerging perception that the country is vulnerable to foreign conditions of climate, public opinion, economics and a variety of social institutions. Shape reads, in this case, as the confluence of intercontinental subconscious activity, which is in the process of becoming visible. The work also operates metaphorically through the concept of the "butterfly effect" from chaos theory. Small changes to nonlinear dynamical systems can produce large long term transformational phenomena. The beating of a butterfly’s wings in the Kurile Islands causes a hurricane over Florida. The site displays a simple map silhouette of the country with pull-down menus for a number of searchable real-time categories of influence. Users select from foreign sources of news, weather conditions, health conditions, stock indexes, and blogs. Informational sources are chosen for their seeming "distance" from the US daily experience.
Qualitative and quantitative indices found in global internet texts and databases are translated into up to four directional vector "magnitude" forces surrounding the continent. The US map silhouette then responds and distorts according to elastic physics properties programmed to its perimeter. The right-hand selection panel displays menu choices and the source information, text and imagery being retrieved. There are two modes for operation, a default "test" mode that allows the forces to act for a limited period of time, generating a finished image test and an alternate "drift" mode allowing the map to continue to transform until the program is reset.
<strong>Invisible Influenced</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 Jerome Foundation.
<a href="http://www.willpap-projects.com">WILL PAPPENHEIMER</a> is an artist working in new media, installation and multi-media. His projects utilize home surveillance networks, participatory media and information aesthetics. He has exhibited in numerous national and international exhibitions including the ICA Boston, Exit Art, FILE 2005, Sao Paulo, ISEA 2006/ZeroOne, San Jose Museum of Art, Florence Lynch Gallery and Postmasters Galleries, New York, Cabaret Voltaire and Kunstraum Walcheturm, Zurich and the Museum Fine Arts, Boston. His work received a half page photo citation in the New York Times at Art Basel Miami 2003 and a chapter of Gregory Ulmer’s theoretical book, "Electronic Monuments." Current projects include commissions from Turbulence.org, Rhizome.org and the Tampa Lights program for the Super Bowl 2009.
<a href="http://www.chipp.org/">CHIPP JANSEN'S</a> interests currently lie at various intersections of Art, Computer Science, and Geography. Artistically, his work is based on food production performance, cable network news subversion, and cartographic advocacy. His work in "CNNPlusPlus" was exhibited at ISEA 2006/ZeroOne, San Jose Museum of Art. With an interdisciplinary programming culture focus, Chipp has taught in the schools of Computer Science, Art and Architecture at the University of Michigan, Brooklyn College, City College, and at the Pratt Institute. Currently he is also pursuing a Master's degree in Geography at Hunter College - CUNY with a focus on new media in cartography, and transportation geography. He is also a research member of Bu-Con, working on infrastructural solutions for the after-future and exhibits with them regularly.
Networked Music Review Commission: <a href="http://turbulence.org/works/net_sonification/"><strong>Network Sonification</strong></a>
by <em>Zach Layton</em>
In <strong>Network Sonification</strong>, a program written in java crawls across the Internet, grabbing as many related URLs as possible and analyzing their contents. Using Max/MSP, the data coming from the webcrawler program is translated into sound. The frequency and range of words, images and links on these pages create a kind of aural snapshot, giving each page a unique sonic character that is written in real time. Layton offers us a range of sonic portraits, from Boing Boing to the New York Times, enabling us to experience them as networked sonic entities rather than discrete visual/semantic pages.
<strong>Network Sonification</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 href="http://www.zachlaytonindustries.com/"><strong>Zach Layton</strong></a>, a graduate of the Oberlin Conservatory and the Interactive Telecommunications Program, is a composer, curator and new media artist with an interest in biofeedback, generative algorithms, experimental music, biomimicry and contemporary architectural theory. His work investigates complex relationships and topologies created through the interaction of simple core elements like sine waves, minimal surfaces and kinetic visual patterns. Zach's work has been performed by the Cleveland Chamber Symphony and he has performed and exhibited at Roulette, The Kitchen, the New York Electronic Art Festival, Eyebeam, and many other venues in New York and Europe. Zach is also the curator of Brooklyn's monthly experimental music series "darmstadt: classics of the avant garde" which features leading local and international composers and improvisers.
<strong>Turbulence Commission:</strong> <a href="http://turbulence.org/works/notime"><strong>No Time Machine</strong></a>
by <em>Daniel C. Howe</em> and <em>Aya Karpinska</em>
Needs a Java-Enabled Browser
Quiet time, dead time, free time -- call it what you will, there seems to be less and less of it. What do people give up in the race to maximize every second of their waking life? What kinds of activities are replaced by the panicked drive for efficiency? <strong>No Time Machine</strong> explores these questions by mining the Internet for mentions of the phrase <em>"I don't have time for"</em> and variations such as <em>"You can't find the time for"</em> and <em>"We don't make time for."</em> Based on a set of procedures they've set up, a program analyzes the search results and reconstructs them into a poetic conversation. Interwoven with this "found poetry" generated by the program are sentences that they re-contextualized themselves; a human-computer collaboration that expands the field of creative writing to include networked and programmable media.
<strong>No Time Machine</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 Jerome Foundation.
<strong><a href="http://mrl.nyu.edu/~dhowe/">Daniel C. Howe</a></strong> is a digital artist and researcher at NYU's Media Research Lab. His interests include generative systems for artistic practice (specifically for digital literary production) and the social/political aspects of technology design. In addition to a background in music, he has graduate degrees in both computer science and creative writing, and has exhibited and performed his work internationally since 1997. He is currently a visiting professor at Brown University.
<strong><a href="http://technekai.com/">Aya Karpinska</a></strong> is an interaction designer and artist working in digital media. She creates interactive experiences through installation art, text, sound, and game design (but not all at the same time). Aya is currently an Electronic Writing Fellow at Brown University, developing children's stories for mobile devices. She splits her time between Providence and New York City.
Daniel and Aya collaborated previously on a spatial poetry project, <a href="http://technekai.com/open/">open.ended</a>.
Fri Mar 14, 2008 00:00 - Fri Mar 14, 2008
Turbulence Commission: iPak - 10,000 songs, 10,000 images, 10,000 abuses curated and engendered by Ajaykumar.
iPak - 10,000 songs, 10,000 images, 10,000 abuses (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 Ajaykumar. iPak 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 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. iPak fully comes into ‘being’ through your participation.
iPak - 10,000 songs, 10,000 images, 10,000 abuses is a 2007 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence 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.
Ajaykumar’s 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.
Fri Apr 11, 2008 00:00 - Fri Mar 07, 2008
Programmable Media II: Networked Music, a one-day symposium examining the current and future possibilities of network-enabled music, will be held on April 11, 2008 at Pace University, NYC. The symposium is free and open to the public, and will include artist presentations and live performances.
Based on the rapidly expanding archive of music/sound experiments to be found on Networked Music Review and the fifteen short works recently commissioned for it, the symposium aims to stimulate critical and far-ranging discussion on emerging music and sound art practice.
To register, email turbulence at turbulence dot org with "Programmable Media II" as the subject.
Date: April 11, 2008
Venue: The Multipurpose Room, 1 Pace Plaza, Pace University
10:00 am - 10:45 am: Introduction by Helen Thorington and Peter Traub
Thorington and Traub will set the groundwork for the conference by introducing a variety of recent works from Networked Music Review and discussing the history, ideas, tools, and theory behind today’s creative practice.
11:00 am - 1:00 pm: Round-table discussion
Panelists: Dan Trueman, Peter Traub, Zach Layton, Sawako Kato, Jason Freeman (moderator)
Panelists will be given 5-10 minutes to make a basic statement about their work. The discussion will center on the significance of networks and whether they - and the collective behaviors of their machine or human nodes - can form the basis of compelling musical experiences.
1:00 pm - 2:30 pm: LUNCH
2:30 pm - 4:30 pm: Round Table discussion
Panelists: LoVid, Tobias C. Van Veen, Adam Nash, Helen Thorington (moderator)
Panelists will be given 5-10 minutes to make a basic statement about their work. Discussion will continue with emphasis on cross-over works (music w/images, text, video, video games etc.). Nash will speak to the symposium from Second Life, which he calls a “post-convergent medium.”
Short performances by Jason Freeman with Andrew Beck and Mark T. Godfrey and Tobias C. Van Veen will be given during the course of the symposium.