:: Friday, June 24, 2005 ::
This week, we offer in our Weekly Features (below this section) "LO TECH LOCATION:
TWO FROM THE 'SPECTROPOLIS' OEUVRE" BY: Molly Hankwitz. And if you missed it make sure to read last week's feature "RAP AND MAPS: BETWEEN NETWORKS AND THE REAL" also by Molly.
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Some Recommendations:: Thursday, June 23, 2005 ::
Online Portuguese Netart 1997 | 2004
An online exhibition at www.atmosferas.net/en curated by Luis Silva and produced by Atmosferas.net
Currently on Netbehaviour, Jason Nelson is producing a set of appropriated online pieces based on twenty four artists he selected. It is at the moment on #19.
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LAb[au] is happy to invite you to the
Liquid Space Publication Release
In the context of the ‘liquid space 01+ 02' cycles dealing with the collaborative design of spatial audiovisuals, LAb[au] conceived a hypertextual catalogue transcribing these interactive 360° multi-screen and quadraphonic real-time constructs into a 2D concept. Imagineering on the level of colors, degrees, keywords and time indexes an unfoldable modular 360° card book, which contains in its center a dvd.
The publication gives the overview of the identically named series of workshops, installations, lectures, performances and exhibitions using as a starting point LAb[au]'s sPACE, navigable music - platform.
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UCLA Department of Art's 2005 MFA graduates will be participating in::: Monday, June 20, 2005 ::
Supersonic 2: L.A. Design Center
June 25 - July 16, 2005
Opening Reception: Saturday, June 25, 3-8 pm
(Valet parking will be available for the opening.)
5955 South Western Avenue
Los Angeles, CA 90047
SUPERSONIC 2, the second annual exhibition of new MFA work from 8 Southern California Art Schools, will open this Saturday, June 25, from 3:00 to 8:00. Over 150 recent graduate students from UCLA, UCI, UCSB, UCSD, CalArts,
ArtCenter, Claremont, and USC will be exhibiting new work.
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RHIZOME ArtBase 101
June 23 - September 10, 2005
RHIZOME ARTBASE 101 surveys salient themes in Internet-based art-making, a practice that has flourished in the last ten years. The exhibition presents forty selections from Rhizome.org's online archive of new media art, the ArtBase, which was launched in 1999 and currently holds some 1,500 works by artists from around the world. Featured works are grouped by ten unifying themes and include seminal pieces by early practitioners as well as projects by some of the most pioneering emerging talents working in the field today. Encompassing software, games, moving image and websites installed on computers or elaborated in installations, Rhizome ArtBase 101 presents the Internet as a strapping medium that rivals other art forms in its ability to buttress varied critical and formal explorations.
A number of projects respond to E-COMMERCE by disturbing online consumption, often through satire and emulation. Portland-based artist damali ayo riffs on the commodification of identity in rent-a-negro.com (2003), a service that offers the companionship of an African American person for a price but free of the commitment of "challenging your ownwhite privilege." RTMark, a brokerage firm of international artists, supports initiatives that sabotage corporate products and protocol through their headquarters, rtmark.com. British duo Thomson and Craighead provide a counterpoint to such direct engagements of capitalist enterprise in dot-store (2002), a line of goods that investigates the historical overlap between individual expression and commercial communication systems.
With cutting edge graphic interfaces and dependence on a player, GAMES provide rich terrain for artistic intervention. Works, like Sheik Attack (1999) by Israeli-born artist Eddo Stern, recontextualize game narratives to reveal the social and political agendas embedded in their structure. Modification, whereby artists hack into virtual worlds to alter their landscape or action, is a form of game art that echoes the equally interventionist traditions of graffiti and tagging. In Adam Killer (2000), Los Angeles-based artist Brody Condon restricts the first person capability of the player to killing and destruction only.
Although historicizing an emerging art practice is never simple, there are some landmark works that undoubtedly established a critical and formal context for Internet art practices as we see them today. EARLY NET.ART, represented in the ArtBase chiefly by European artists active in the mid to late 1990s, include such classic projects such as _readme (1998) by Heath Bunting and Desktop Is (1997) by Russian artist Alexei Shulgin. The latter project effectively reframed the computer desktop as a formal platform by aggregating artists' varied experiments with the basic computer interface. By exploring these very different "desktops," we can see how Internet artists were able to work online in an individualistic mode while at the same time operating in the context of an artistic community that was launching new projects using the Web and e-mail.
The Internet has provided a platform for exploration, action, and protest by artists who create works under the rubric of CYBERFEMINISM. American artist Prema Murthy plays with the "goddess/whore" paradigm in Bindigirl (1999). In this work, which parodies South Asian cyberporn sites, a character called Bindi speaks of the failure of new technologies to liberate her from constricting religious and gender identities. In another classic and pioneering work, Brandon (1998), whose source material is the true story of Tina Brandon, nomadic artist Shu Lea Cheang represents the paranoia and distrust around transgendered bodies by deploying graphic imagery and details across multiple screens and in diverse international locations.
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SOFTWARE ART takes generative processes and code as its main source material, examining these as cultural forms rather than merely neutral sets of command sequences. Many software art projects interrogate the mechanisms of control that underlie software by destabilizing rote experiences of computing. Through its open source, cross-platform design the early program The Web Stalker (1997) by British collective I/O/D prompted a consideration of how commercial software limits options and experimentation. Conversely, theBot (2000) by American artist Amy Alexander downplays functionality in order to visualize certain operations that software enables, such as searching and rendering images.
DATA VISUALIZATION AND DATABASES manifest relationships between informational entities that might otherwise remain invisible or even unthinkable. Created using RSG's network surveillance program Carnivore (2001-2003), Los Angeles-based programmer Mark Daggett's Carnivore Is Sorry (2001) tracks users as they navigate the Web, then compresses the sites they visited into an abstract, data-dense jpeg and e-mails it to them. Databases have been employed to reorganize existing arrangements into new narratives or situations. One Year Performance Video (akasamhsiehupdate) (2004) sources prerecorded clips of Brooklyn-based artists M. River and T. Whid of MTAA into a streaming video diptych that simulates a fictional narrative of the artists living in adjacent, identical white cells for the duration of a year.
Artists interested in ONLINE CELEBRITY enlist personal platforms like blogs and homepages, and the gossipy, reflexive nature of the Internet, to transform personal behavior into public spectacle. On Marisa Olson's American Idol Audition Training Blog (2004), the San Francisco-based artist exhaustively documents the pitfalls and nervous anticipation involved in her attempt to become the next American Idol. In Diary of a Star (2004), Los Angeles-based artist Eduardo Navas re-contextualizes selections from The Andy Warhol Diaries (edited by Pat Hackett) to connect this earlier artist's legendary self-awareness to the attitudes of today's online personas. Embedded within layers of metadata and links, each diary entry's potential to spread across net appears infinite.
Aided by the proliferation of wireless technologies, new media artists encode, decode and scramble PUBLIC SPACES through electronic networks. In the audio storytelling project [murmur] (2003) by Canadian artists Shawn Micallef, James Roussel, and Gabe Sawhney, pedestrians can dial into a central database to share or hear location-specific stories about the area they are calling from. For Nike Ground (2003), the international team of artists known as 0100101110101101.org employed Internet-based marketing strategies (Web sites, e-releases) to fool the city of Vienna into believing that their beloved Karlplatz had been acquired by Nike and was to be supplanted by a monumental Swoosh.
NET CINEMA puts film and video in dialogue with digital aesthetics such as hypertext, databases, and algorithms. SUPER SMILE (2005) by Korean-based duo YOUNG-HAE CHANG HEAVY INDUSTRIES, evokes multiple film genres - romance, action, noir through the rhythm and pace of its experimental, text-based narrative. The flourishing of commercial media programs such as Flash in recent years has seeded new possibilities for moving image online. Still, some artists are more interested in a program's vulnerabilities than in its options. For his series Data Diaries (2003), New York artist Cory Arcangel tricked QuickTime into reading his daily desktop debris (old e-mails, jpegs, and Word documents) as media files, a maneuver that produced dozens of mesmerizing and abstract streaming videos.
Projects described as DIRT STYLE appropriate graphic detritus from the Web in gestures that both celebrate and satirize digital pop culture. In extreme animalz: the movie: part 1 (2005) by U.S.-based collective Paper Rad and Pittsburgh-based artist Matt Barton gif files of animals, sourced through Google's Image Search, are woven into a digital tapestry that is mirrored by a surrounding cluster of mechanized stuffed animals. Dirt Style works often express nostalgia through repurposing analog technology. In Dot Matrix Synth (2003), American artist Paul Slocum reprogrammed a dot matrix printer so that it plays electronic notes in accordance with different printing frequencies.
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Rhizome ArtBase 101 is organized by Lauren Cornell and Rachel Greene with assistance from Kevin McGarry for Rhizome.org.
Rhizome.org receives support from the National Endowment for the Arts, the New York State Council on the Arts, the New York City Department of Cultural Affairs, the Greenwall Foundation, the David S. Howe Foundation, the Jerome Foundation in celebration of the Jerome Hill Centennial, the Andy Warhol Foundation for the Visual Arts, PubSub Concepts, Inc. and the members of Rhizome.
Media Lounge exhibitions and public programs are supported by Rockefeller Brothers Fund, the Jerome Foundation in celebration of the Jerome Hill Centennial, and the New York State Council on the Arts.
The New Museum of Contemporary Art receives general operating support from the Carnegie Corporation, the New York State Council on the Arts, the New York City Department of Cultural Affairs, JPMorgan Chase, and members of the New Museum.
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Public Lecture: Peter Luining
Time: 15.00hrs
Date Saturday 25th June,
2005 Location: Overblaak 85,Rotterdam
DNvorscher
From the beginning of the world wide web, internet domain-names were often seen as speculation objects that could bring big profits. With the dot.com bubble bursting in 2001 the market in domain-names more or less collapsed and the domain-squatters searched for other ways to generate money from their property. New strategies were used: with pop-ups, spyware, click-throughs, typo-domains, and sites aimed at children, domains were engineered to generate revenue.
Fascinated with the changing use of domain-names Peter Luining started to investigate domain trading and decided to map the changing landscape of the internet. For his lecture at the Piet Zwart Institute he will talk about DNvorscher, a new project for the Media Research Fellowship programme. DNvorscher is an interactive application that maps domain-name ownership. With this application Luining will give the user a picture of how the domain-name trade is changing the character of the internet.
Peter Luining
Peter Luining lives and works in Amsterdam. Originally trained as a philosopher he has also produced work as a VJ and music video director. From the mid-nineties he has developed a unique body of work fusing minimalist aesthetics with the interactive vocabularies of the networks and of software. His work has been widely exhibited internationally. Between April and July he is Research Fellow at Media Design Research.
http://www.ctrlaltdel.org/
The lecture is presented by Media Design Research, Piet Zwart Institute, Willem de Kooning Academy Hogeschool Rotterdam.
http://www.pzwart.wdka.hro.nl/
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*New Reviews and events on Furthernoise*
New on Furthernoise this month resident *Mark Mclaren* features the net
label *Conv* looking into the creative commons future and recent
releases from *Kazumichi Grime, Heribert Friedl, Henrik Olsson & Anders
Dahl *as well as passing his earlobe over *Scanner's* new work
commissioned by the *EU, Europa 25.* The review also features an
interview with *Scanner* about the making of the piece and his
experience of working for the EU. We are joined again by *Keyop' s
Andrew Palmer* who waxes lyrical, genuflecting on *Foetus's Jim
Thurwells* recent release *Manorexia* and *Mark Francombe* takes over on
net contributions featuring releases from *Devico* in the US & Santiago
based sound *crafters Chiste*.
*Roland from Poland* twins cities from Bristol & Hanover with his
impressions of Bristol's *Rob Dean* and Hanover experimentalists
*Medusa* and writer & *poet Jerry Jigger opines* on *Icky Whitenail's*
obsessional music poetry in the *Ink Blot Sudarium*. *Alex Young* flags
up *Meri Von KleinSmid's* release *Ex Vivo* from *Mimeograph Recordings*
while new guest reviewer *David del la Haye* takes us through London
City Universities student sonic art compilation *Sonicities*.
New York's prog jazzers *Zs* top the list of new music this month with
their *EP Karate Bump* and we have a fresh new mp3 selection featuring
music and sounds from a host of international artists. We also feature a
streamed mp3 of February's *Visitors Studio's* multi continental net jam
on *Resonance FM featuring Midori Hirano , John Kannenberg & Mark Francombe*
http://www.furthernoise.org
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Call for proposals: SCANZ (Solar Circuit Aotearoa New Zealand)
Planned for July 2006, SCANZ follows in the tradition of Solar Circuit and Polar Circuits. These events consisted of the gathering of diverse artists, curators and producers involved in contemporary practice with projects and activities intersecting the environment in some way.
Proposed dates and call for proposals:
The dates for the residency and workshop are 3 July - 16 July 2006. The submission process for projects is a two stage process. Stage one is a call for registration of interest, due Monday 18th July 2005. Stage two is a call for developed projects.
Registration of interest
Artists, curators and producers are invited to submit proposals for possible projects during the two-week workshop and residency. We are seeking projects that enhance a sense of community and/or identity by either:
a) being collaborative projects across hemispheres, between nations or cultures;
or
b) referencing environmental response - to Taranaki, Aotearoa, New Zealand and Pacific Ocean in terms of human, natural and technological environment.
Process
Download the registration of interest rtf from the web page given above. Fill out the form and email it to: scanz@witt.ac.nz.
The registration of interest proposal should include a short general description of the project only (half page preferred, maximum one A4 page). Project specifics can be resolved in the second call. The registration of interest file should be saved and sent as an rtf file.
A CV should also be submitted, which provides information relevant to the proposal. The CV should also be saved as an rtf and include all contact details and url’s.
Up to three web suitable images (jpg or gif) can be submitted with the registration of interest, and video files up to 4Mb. This material should be related to the specific proposal rather than be samples of previous work.
Three themes are central to SCANZ:
1. Fostering a sense of community and translocal media environment by enhancing links between northern and southern hemisphere practitioners.
2. Providing time, space and a unique environment for media artists to workshop, research and collaborate on creative methodologies.
3. To create an opportunity for artists to work together over a given period of time to develop new artistic content exploring the relationship between media and practitioner's response to an environmentally unique location - Taranaki, Aotearoa New Zealand, South Pacific. Environment here refers to human, natural and technological environments and the integration of these into diverse creative forms.
Taranaki is significant in terms of human environment - it was the site for a peaceful protest movement under the guidance of Te Whiti, and important colonial events and clashes; home to Chew Chong who played an important role in business development regionally and nationally; and is the location of the mountain - Taranaki, part of Maori mythology and the second highest mountain peak in the North Island of Aotearoa New Zealand.
For further information, go to the web page.
Ian Clothier
SCANZ Team
Western Institute of Technology at Taranaki
New Plymouth
New Zealand Aotearoa
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Currently in Empyre a month-long discussion on Blog-art.
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announcements
CULTURETV New playlist
Only 4 days ago we launched CULTURETV and we never could have imagine the number of visitors, who have already visited the site and the number of art videos, which are submitted to us.
The site has been and will be frequently updated with new content. You can submit content! Whether you are a museum, gallery, artist or artlover, if you have made a short film 1-3 min. and you want it broadcasted it, submit it.
Watch CULTURETV, a new look @ culture and art around the Globe.
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medialounge // #97 // 15.06.05 //
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1. Evolution is Not Over Yet - Seminar
2. spring_alpha: spring_city - Medialounge
3. Artist in Residence - Amy Alexander
4. Artist in Residence Remote - James Tindall
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1. Evolution is Not Over Yet - Seminar
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24 June 2005 | 2.00 - 4.00pm | Free
Gallery 5
Huddersfield Art Gallery
Princess Alexandra Walk
Huddersfield
HD1 2SU
United Kingdom
Speakers:
Chad McCail, Simon Yuill, Dennis Kaspori,
Jeanne van Heeswijk, Derek Hales, Francis McKee
An afternoon of presentations and discussions to open the exhibition 'Evolution Is Not Over Yet'by Chad McCail.
Chad McCail's drawing 'Spring' and the series of paintings 'Evolution Is Not Over Yet' narrate the attempts of a small, urban community to create a 'utopian' society. Inspired by these works, Simon Yuill is developing the ambitious spring_alpha
project, an online game-world which acts as a vehicle for social enquiry. This event provides a platform for discussion of issues arising from both Chad's work and the collaboration between these two artists.
Chad McCail is a Scottish artist whose work depicts alternative forms of society, often emphasising the links between personal relationships and social freedom. He has
exhibited as part of the British Art Show and Beck's Futures.
Simon Yuill is the current Artist in Residence at the Digital Research Unit. His project spring_alpha adapts Chad McCail's drawings into a computer game-world through which users can experiment with the game’s utopian community.
http://www.spring-
alpha.org
Dennis Kaspori is an architect and a founding member of The Maze Corporation, an office for research and design relating to the urban condition. He collaborated with Jeanne van Heeswijk on the 'Face Your World' project in Amsterdam, which used a computer game to enable young people to become urban designers for their neighbourhood.
http://www.themaze.org
Jeanne van Heeswijk is an artist whose work addresses art production and discourse in a broad range of ways. Her work is based on the idea that art must cross the boundaries it has historically developed in its relation to society. Collaboration is an essential part of her practice.
http://www.mediamatic.net/
article-200.6156.html
Derek Hales is Research Leader for the Department of Creative Technologies at the University of Huddersfield School of Art & Design, where he also leads the Multimedia subject area. Derek is a chartered Architect and a regional councillor of the Royal Institute of British Architects, chairing their Digital Futures Group.
Francis McKee is Head of Digital Art and New Media at CCA in Glasgow and is a research lecturer at the Glasgow School of Art where he teaches on the MFA course. He is currently researching the relationship of 'open source' and 'open knowledge' culture to socially engaged art practice.
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