Still from Art Gallery
Birth, Art Gallery, Death is a minimalist triptych in the form of a screensaver package. With white as life and black as death, each screen saver panel marks a stage in the cycle of consciousness. Birth is the genesis of consciousness through a birth canal of white arriving out of darkness. Art Gallery, where black is conspicuously absent, is the finite enclosure of a lifetime. Its contents are the thoughts and creations arising in consciousness; representations of life. Death, represented by black slowly descending upon a white screen, is ultimately a representation of life.
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Rhizome is pleased to announce London-based artist James Howard is featured this month on The Download.
Still from www.luckyluckydice.com (2012)
Utilizing spam that lands in his junk email folder and pop up ads, Howard appropriates the deceitful images and text in his collages highlighting the emotional tiggers that trap users. Rhizome members can download www.luckyluckydice.com (2012), a 51MB animated GIF of 1990s internet-style advertisments; a file size too large for dial-up speeds, but now easily viewable in any internet browser once downloaded. Rhizome editor Joanne McNeil interviewed him last year about the images he collects:
Images in online scams and phishing schemes can seem as artificially generated as the text — like botnet generated folk art. But there is a human hand at work. What do you think is the human element that draws people into these schemes?
People are like machines - their brains react to temptation like a computer does. Most people are able to recognise a scam, but if someone pulls the right string, sooner or later all that subconscious stuff inside you is going to lead you down the wrong path. Scams get people by playing on insecurities, desires, fears, greed, whatever - it's uncontrollable and causes one in a thousand people to make a snap decision and pay up.
What do you consider the visual clues of this kind of kitsch of deception? Any interesting patterns or trends you've spotted over the years of collecting examples?
Squashed grinning businessmen looking into fisheye lenses, sunsets over serene oceans, happy families, sexy nurses- it's an endless and totally recognisable global visual language. There's a gruesome image of someone hooked up to a life support machine that keeps landing in my junk-mail folder these days -it always comes from a new person, with ...
Rick Silva's La Région Decentralized is featured this month on The Download.
Still from La Région Decentralized, image courtesy of the artist
Working with nature and land feels natural to me. Nature and land are part of a larger fascination I have with perception, light, and time. I do spend a lot of time outdoors, my new project/blog En plein air http://enpleinair.org is all about that actually. For the project I’m taking my laptop outside and seeing what I can create while reacting to the immediate landscape and elements.
I’m interested in Snow’s use of a rotating camera/horizon. Spinning terrains are a reoccurring theme in my recent videos. Texts about La Région Centrale suggest that the camera/horizon movement in Snow’s film creates a cosmic perspective of space at the human scale, and I agree with this reading. My video game version adds an endless random time component to this idea as well.
In 2010 I used video game engines to generate scenes and imagery for video projects. I’ve used 3D spaces like Google Earth for projects since 2005 with my Satellite Jockey performances, but this is the first time that I’m releasing a game as an application. There is something very interesting in the stretching and randomizing of time that video ...
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Clement Valla and John Cayley's Hapax Phaenomena is featured this month on The Download.
Certificate of Authenticity, Hapax Phaenomena (2011)
In Hapax Phaenomena and other projects such as Google Earth Sites, you refer to your art objects as artifacts or curios. Do you see yourself as an observer documenting an endangered technological curiosity?
Yes. These things will all disappear, and probably soon, in the name of progress. These artifacts are atypical ephemera, and often accidental products created by various internet algorithms. There is very little direct human hand in these artifacts. Though the purpose in collecting them is not simply for their preservation. It's more about framing them, allowing them to be seen, and showing a kind of bizarre byproduct of these super-functioning and useful systems, such as Google.
When did you first notice the glitch in Google Earth? What inspired you to begin capturing these surreal moments?
It was accidental. I was Google-Earthing a location in China, and I noticed that a striking number of buildings looked like they were upside down. I could tell there were two competing visual inputs here - the 3d model, and the mapping of the satellite photography, and they didn't match up. The computer is doing exactly what it's supposed to do, but the depth cues of the aerials, the perspective, the shadows and lighting, were not aligning with depth cues of the 3d earth model. I figured that this was not a unique situation in Google Earth, and I started looking at obvious situations where the depth cues would be off—bridges, tall skyscrapers, canyons. Soon I noticed the photos being updated, and the aerial photographs would be 'flatter' (taken from less of an angle) or the shadows below bridges would be more muted. Google Earth is a constantly ...
Flux Factory invites artists, designers, engineers, hackers, and makers to collaborate on an elaborate, exquisite corpse-style Rube Goldberg machine that will span multiple rooms and floors throughout Flux Factory to accomplish a simple chore.
Inspired by Rube Goldberg’s cartoons that depict overly complex machines; chindōgu, the Japanese art of “unuseless” inventions; and the growing popularity of producing these objects and machines as an art practice; The Exquisite Contraption will result in a massive, interactive, kinetic sculpture that is activated once a week for the duration of 2014 to perform its task.
Participants will work together to collectively identify the machine’s task and individually build pieces of the chain reaction. The final contraption will be created from a wide array of materials and methods and become a long term addition to Flux Factory’s architecture. In an age of consumerism that worships the invisible and efficient, The Exquisite Contraption is an experiment not only in the spectacle of visible automation and the aestheticization of externalities, but in living daily life surrounded by a conspicuous machine.
Tell us your idea for a task or chore to be automated and a section you would like to build (max 1 page). Applications are due December 16th to firstname.lastname@example.org and applicants will be notified by January 6th.
United States of America
WHY AN EMOJI ART & DESIGN SHOW?
In today’s visually oriented culture, which increasingly communicates through images rather than text, emoji comprise a kind of “visual vernacular,” a language that conveys humor, ambiguity and personality as well as meaning.
This visual form of communication isn’t necessarily new—from cave paintings, to hieroglyphics, to religious and mythological symbols encoded in traditional painting and sculpture, we’ve been communicating through images since the dawn of mankind—but its dominance in culture today, especially among millennials, seems to indicate a greater shift in our approach to self-expression.
SUBMIT YOUR WORK
Emoji are everywhere. The little pictographic characters from Japan have become one of our favorite causal modes of communication and their influence has permeated popular culture and personal expression.
If you’re an artist or designer working with emoji, send us your work. We’re looking for a diverse array of interpretations and appropriations of the emoji that exist both on and offline. The show welcomes new and existing works from a variety of mediums ranging from net art, to painting and sculpture, video and performance.
Designers looking to sell their emoji-themed products should apply to participate in the pop-up market. Please note that all pop-up market vendors should be local to NYC or able to staff their own booth.
Learn more & submit your work now through November 8th.
Forced Meme Productions
Official Media Partner:
United States of America
This course will show you how to set up your Raspberry Pi as a web server and wireless access point. We will also cover how to create a local area network with a captive portal for directing users to your web app.
- Configure the Raspberry Pi with a wireless adapter as an Access Point
- Configure a web server running Node.js
- Create a simple chat application with Node
- Create a startup script that automatically boots up your network and node app on power up.
ABOUT THE INSTRUCTOR:
Sarah Grant is a Brooklyn-based multimedia artist and programmer. She is interested in building networks of data between machines and living creatures in addition to electrical engineering with organic and living materials. She has experimented with creating textile-based interfaces for audio hardware, working with sound as a tangible material, and more recently, creating conductive circuit traces out of slime molds. Embedded sensor networks and the idea of aware and responsive natural environments that cross the senses and freely transport information are key inspirations.
Sarah has given talks, taught workshops, and shown her work locally and internationally at events such as the New Interfaces for Musical Expression (NIME) conference, Maker Faire San Mateo and New York, Dorkbot and Eyebeam. She earned a Bachelor of Arts in Studio Art (printmaking and sculpture) from the University of California at Davis, and a Masters degree from the Interactive Telecommunications Program at Tisch School of the Arts, New York University. She currently works at The Barbarian Group as a Senior Design Technologist.
1. Raspberry Pi Model B (with Node.js pre-installed and 4GB SD Card)
2. USB WiFi dongle (with RALink RT5370 chipset)
3. 700 mA 5V microusb power supply
4. Laptop (with Ethernet Port) (Please email email@example.com if you cannot provide this)
Items 1-3 can be purchased as a kit for an additional $75
- Comfort working in the command line
REGISTER HERE: http://www.brownpapertickets.com/event/454834
Saturday September 14, 10:00 am - 5:00 pm
Workshop + Optional Kit: $150
**$25 OFF Workshop Fee for Students.
Enter password "STUDENT" to receive special discount price of $50.
Enter password "STUKIT" to receive special discount and purchase the kit.
MUST PRESENT STUDENT ID UPON ARRIVAL TO WORKSHOP.
United States of America
You will learn the methodologies and mechanisms for exploring creative and unconventional uses of political data over the web. In addition, the workshop will introduce some practical tools, including simple software, coding, and other techniques and tricks to extract data from web servers.
Software that will be explored during the workshop:
iMacro, Fake, Scraperwiki, Beautiful Soup, Scrapy, etc.
Code that will be explored:
Bring your own laptop (Email firstname.lastname@example.org if you cannot provide this)
Knowledge of coding is not necessary, but very welcome.
ABOUT THE INSTRUCTOR:
Paolo Cirio is well known for web-hacktivism through projects such as Loophole for All, Face to Facebook, Google Will Eat Itself and Amazon Noir. He was part of the legendary Italian net-art collective Epidemic which created visionary viruses and P2P software. At the age of twenty-two he was investigated by the Department of National Defense of Canada for his innovative DDOS attacks to the NATO website though a Flash script. Recently the international press covered his hack at the Cayman Islands.
Register Here: http://www.brownpapertickets.com/event/447332
Monday, September 16, 6:30-10:30pm & Tuesday, September 17, 6:30-10:30pm
**25% Discount for Students. Enter password "STUDENT" to receive special discount price of $75. MUST PRESENT STUDENT ID UPON ARRIVAL TO WORKSHOP.
APPLICATION DEADLINE: All applications must be received by 12PM (noon) on September 13, 2013. Applicants will be informed of their application status by late November, 2013.
RESIDENCY SUMMARY: The 5-month residency will begin in mid January (negotiable start date) of 2014 and run through June of 2014, the first half of the time will be spent at The White Building, London and the second half at Eyebeam, New York. The resident will receive a stipend to be paid out over the course of the residency in connection with the achievement of specific milestones. In addition, travel between London and New York will be covered, and housing will be provided in London. The resident will not receive automatic housing in New York but will receive assistance in locating temporary housing.
OVERVIEW: The SPACE-run art centre, The White Building and Eyebeam are seeking applications from artists, engineers, designers, and creative technologists interested in being the inaugural resident in our joint residency program. The purpose of The White Building/Eyebeam Artist Residency is to support creation of new work that addresses the Focus Areas of this residency call. The new work, and the process of its creation, will be presented both at Eyebeam and The White Building, with opportunities for public presentation and discussion at both organizations.
RESIDENCY FOCUS AREAS: The resident is expected to respond to at least one of the following inquiries in their project:
1.What is the role of authenticity in the current creative situation? Digital technologies are built to reproduce themselves in perfect copies -- this is antithetical to notions of single authorship. What is authentic; can there be a single author anymore?
2. What is the place of discussion around aesthetic beauty and form in contemporary technological art? Particularly, how do the formal aspects of work on the internet affect how we ‘appreciate’ and understand art? How are platforms such S[edition] and art.sy re-configuring what is digital and physical practice? Moreover, what do we say to skeptics who argue that native art produced on the internet, does not boast the same social, aesthetic, or political value as traditional forms?
3. What is the relationship of queerness to the internet? Are there implied queer trajectories in what the internet enables?
4. How is storytelling evolving across cinema and ebooks, digital novels, hyperlinked narratives etc? Or is it evolving?
5. What does it mean to collaborate across geographies? What does it mean to be close to people?
PARTICIPATION: There is a single residency available under this program, though it may be shared by more than one person. The resident should be prepared to document, in both London and New York, the learning and development process for the project. This documentation, which may take any number of forms, will further engage the public by increasing understanding of the project itself. This documentation may include public-facing reports and updates designed to engage the public with the project and shed light on the artist's creative and educational process.
The resident is also encouraged to participate in both formal and informal learning opportunities within the The White Building and Eyebeam community.
DETAILS: The selected resident will be expected to start the residency at The White Building's London facilities in January, remaining in regular contact with Eyebeam. In London, the artist will be expected to spend at least 3 days a week developing their project at The White Building residency studio, where they will contribute actively to the culture of The White Building and its public program. After the first two months, the resident will be given working space at Eyebeam's Chelsea, New York City space and have 24/7 access to Eyebeam's facilities and equipment. The resident will also be expected to play an active role in the Eyebeam community by taking part in Eyebeam's weekly residents & fellows meetings, monthly Stop Work critique sessions, and annual Exhibition of artists' work.
In New York, the resident will bring their experience and expertise to Eyebeam where they will finalize the creation of the project(s). Residents are expected to contribute to the Eyebeam community as collaborative partners to other residents and fellows. Eyebeam may offer program support in developing work for public or educational programming within its space during the term of the residency.
ABOUT EYEBEAM: A belief in progress and openness are core values of Eyebeam. This has been demonstrated through 16 years of experimentation via the creative use and misuse of technology with the goal to innovate and develop better relationships between people and tools. Eyebeam believes that all creative work begins with a commitment to sustainability, equality, diversity, and concern for a better future. Across all research initiatives and focus areas, Eyebeam primarily supports projects that have real-world impact -- Eyebeam maintains that cultural progress is possible and encourages work that is paradigm shifting within a large spectrum of genres.
ABOUT THE WHITE BUILDING: The White Building is London’s new centre for art, technology and sustainability. An incubator for big ideas and innovation, it serves as a creative lab for artists whose work engages with technology. Run by SPACE, The White Building’s aim is to act as an international beacon for the creative industries in Hackney Wick, as well as a resource and venue for residential and educational communities in the area. The centre is anchored by a residency program that is unique among UK public institutions, offering opportunities for emerging and mid-career artists to produce new work on an international platform. The centre comprises a residency studio, which doubles up as a temporary exhibition space, a flexible event space, studios for creative practitioners.
APPLICATION REQUIREMENTS: Applicants are only accepted via the online application system at http://apply.eyebeam.org. Applications received after the deadline of 12:00 (EST) PM (noon), September 13, 2013, will not be accepted. All applications and work samples must be submitted through the online form. No exceptions will be made.
Applications must not be currently enrolled in degree-granting academic programs. Individuals and collaborative teams are invited to apply. In either case, please detail in your application how technical and creative responsibilities will be met. If applying as a collaborative team, please include information about team members' relevant prior experience and combine CVs into a single document before uploading.
Please read the guidelines carefully, should you still wish to make an enquiry before making an application, then please contact Omar Kholeif, Head of Programming at The White Building, London on email@example.com.