:: Friday, February 25, 2005 ::

runme.org software art repository has reached 2 years + 1 month old = 300+ projects: algorithmic appreciation (3); non-code-related (1); pseudo-quines (0); appropriation and plagiarism (4); stealing (0); artificial intelligence (9); artistic tool (27); audiovisual (23); narrative (2); useless (1); bots and agents (13); browser art (13); code art (16); code poetry (7); minimal code (1); obfuscation (3); programming languages (3); quines (1); conceptual software (18);without hardware - formal instruction (2); data transformation (21);data collage (7); multimedia (3); sonification (2); visualization (3); digital aesthetics r&d (6); disfunctionality (2); low tech (4); digital folk and artisanship (14); ascii art (2); gimmicks (5); screen savers (1); existing software manipulations (6); artistic re-packaging (1); cracks and patches (0); instructions (1); software plugins (2); games (8); deconstruction and modification (5); public games (1); generative art (31); algorithmic audio (6); algorithmic design (3); algorithmic image (14); algorithmic multimedia (5); hardware transformation (6); installation-based (5); institutional critique (3); performance-based (6); political and activist software (19); cease-and-desist-ware (5); illicit software (1); useful activist software (2); social software (1); software cultures - links (10); system dysfunctionality (6); denial of service (3); virus - security (3); text - software art related (43); aesthetics of software art (6); cultural critique of software (13); history of software art (11); weblog (1); text manipulation (26); text editors (4)

runme accepts submissions on a year-round (almost) basis. You can submit projects in the above categories - or suggest your own at runme.org.
:: [+] ::
:: Thursday, February 24, 2005 ::
The Post-traumatic Institute for Social Satisfaction and The Journal of Aesthetics & Protest present "Pluralism of Media in the Age of Surveillance," a lecture/discussion with M.T. Karthik, @ c-level in Chinatown, Los Angeles, Thursday, February 24 @ 8pm.

From agit-prop to info-prop, culture-jamming and tactical media, how might 'true media diversity' combat monolithic corporate media? In the context of 21st century politics, what does it mean to be effective? What has the dominant culture learned and absorbed? What are the possibilities for counter-narratives?

For directions & additional information go to c-level.cc.
:: [+] ::
:: Wednesday, February 23, 2005 ::
Some art on the possible future of Iran: A scrapbook



DATE & TIME: February 23, 2005; 7:00 p.m (EST, US)
VENUE: Bill Bordy Theater, 216 Tremont Street, Boston
Streamed live at http://institute.emerson.edu/

ANDY DECK started making what he has called "public art for the Internet" in 1994. Since then he has been at the forefront of aesthetic research into the creative possibilities of the Internet as a medium. In addition to being an image producer, he now acts as a collaborator, cyberspace architect, and programmer. His aesthetic program seeks a cultural break from the modernization of passive consumerism. Deck will discuss his upcoming work, “Imprimatur…” which provides a system for "viewers" to choose themes and produce their own messages in poster form, then download their expression and take it into the streets.

RICARDO MIRANDA ZUŅIGA transforms elements of urban life into vehicles for interaction and discussion. Melding new media, sculpture, public display and performance, he investigates current and historical issues by framing his research into works that mediate temporary public commons. Zuņiga will discuss the use of computer technologies and public WiFi nodes as tools for public art projects such as Vagamundo, NEXUM ATM, the Public Broadcast Cart, and other works in progress.

Floating Points is co-presented by Emerson College and New Radio and Performing Arts, Inc. (NRPA). The series is made possible by Emerson College and the LEF Foundation. For more information about the series, visit http://institute.emerson.edu/

:: Eduardo Navas [+] ::
:: Tuesday, February 22, 2005 ::
Artbots 2005: The Robot Talent Show is now accepting submissions through April 1, 2005. This will be the fourth annual exhibition for robotic art and art-making robots and the first to take place in Dublin, Ireland. There are no strict rules about the type of works that can be submitted. The Artbot website states, "if you think it's a robot and you think it's art, we encourage you to submit". The ArtBots curators for 2005 are: Douglas Repetto (Columbia University Computer Music Center), Michael John Gorman (The Ark), and Marie Redmond (Trinity College Computer Science). ArtBots 2005 is sponsored by The Ark and The Columbia University Computer Music Center and is being produced as part of The Ark's summer "Save the Robots" festival.
:: nicholas economos [+] ::
Feb 24 7:30 PM at Eyebeam in NYC
540-548 west 21st street (bet 10 & 11 Ave)

The Upgrade! w/Michael Mandiberg
Michael will be speaking about his web and video projects which explore subjectivity, technological mediation, and (public) performance. He will also be previewing a new project made in collaboration with Julia Steinmetz entitled "IN Network." "IN Network" is a cell phone, life art performance, which will launch March 1st. "IN Network" is commissioned by Turbulence.org.


Micheal Mandiberg has run the Red Project for the past few years, providing the new media community with news of related opportunities.
:: [+] ::
:: Monday, February 21, 2005 ::
New Reviews at Furtherfield.org

A quick reminder of Turbulence.org's competition 05.

InteractivA 05, Merida's new media biennale, announces this year's artists and activities.
:: Eduardo Navas [+] ::
:: Sunday, February 20, 2005 ::
Ok. You might find the following short Flash film just a bit disturbing. But if it doesn't give you that creepy, "I'd better not stand up too quickly" feeling, then you can't possibly be watching Salad Fingers by David Firth.

This particular film, called The Picnic is the fifth in a series of shorts that feature the odd green character with the innocent English voice, shaky handwriting, broken teeth, long hairy fingers (salad fingers apparently), and fondness for the feel of rusty spoons against his skin.

Check out Firth's creepy soundtrack and his scenes that are as disconnected from each other as Salad Finger's mind is from reality. The Picnic is arguably the best short of the series, with its more developed "plot" and more in-depth exploration of Salad Finger's inner and outer world. Reviews and links to the other episodes can be found at Newgrounds.com.

For more information about David Firth and his now cult-favorite of a creation, check out this interview and read about his inspirations and influences. Apparently the guy's got salad fingers of his own. Disturbing...
:: Kristen Palana [+] ::
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