August 7, 2008
Reblog
Originally
by lauren_cornell
from del.icio.us/lauren_cornell
at August 5, 2008 2:47 pm
published by Ceci Moss
2008 Grant Application Now Open
Deadline for Applications: September 22, 4:59 p.m. EST
Dedicated to supporting a wide range of writing on contemporary visual art -- from general-audience to scholarly -- the Creative Capital | Warhol Foundation Arts Writers Grant Program awards project-based grants to individual authors. In its 2008 cycle, the program will fund approximately 20 projects, in amounts ranging from $3,000-$50,000, in the following categories: books; articles; short-form writing; and blogs/new and alternative media. All writers who meet our eligibility requirements are encouraged to apply.
Creative Capital | Warhol Foundation's Arts Writers Grant Program is now accepting applications. Click the above for more information.
By
Marisa Olson
on Thursday, August 7th, 2008 at 10:30 am.
Australian artist Lynette Wallworth is bringing a high tech touch to this year's Mostly Mozart festival at New York's venerable Lincoln Center. At first glance, the pairing of a new media installation artist with a celebration of an old dead white guy's music may seem formulaically nouveau, but Wallworth's interactive works bring a nice visual meditation on this year's festival theme: mortality and transcendence. If anyone could speak from the grave about this topic, it's Mozart, the legend of whose death surrounds the mythologizing of his oeuvre and who has been the subject of remixes (or variations, as the ancients call them) by a number of significant classical composers. Wallworth's video installations Hold Vessel 1 and 2 and Invisible by Night create a truly immersive space, one which relies on the viewer to proactively enter and activate these areas. In Hold Vessel 1 and 2, viewers carry a bowl-shaped screen into the room, to capture "projected images of microscopic marine life and telescopic astronomical imagery." The physical analogy here seems equal parts panning for gold and holding the whole world in your hands, with the artist's expressed intention being that of revealing "the hidden intricacies of human immersion in the wide, complex world." Invisible by Night uniquely engages the context of the Lincoln Center complex, which is not only a family of concert halls but also a shopping center, luxury apartment building, and corporate headquarters. Wallworth encourages visitors to slow down, ponder the emotional history of the site, and practice empathy in engaging with video footage of a grieving woman whose gestures will mirror those of viewers who elect to touch the projection surface. The piece is meant to speak to "the transient nature of compassion," and the interactive installation format's engagement with time and space lends itself well to such work. True Mozart die hards might here insert an analogy to the mysterious Mozart Effect, in which the spatio-temporal reasoning of listeners is said to be enhanced by the maestro's music. - Marisa Olson
Image: Lynette Wallworth, "Hold Vessel 1 and 2" and "Invisible by Night", 2008
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Reblog
Originally
by jo
from Networked_Performance
at August 6, 2008 3:28 pm
published by Ceci Moss
intelligent agent Vol. 8 No. 1 - Social Fabrics print issue now available. It can be ordered as hardcover and paperback (
here) or downloaded for free as PDF. It features the catalog of the
Social Fabrics fashion & technology exhibition (curated by Susan Ryan and Patrick Lichty) of the Leonardo Educational Forum at the 2008 College Art Association conference.
[CONTINUED]
Reblog
Originally
by markallen
from machine project
at August 6, 2008 3:18 pm
published by Ceci Moss
Sunday, August 10th, 2008
1pm - 3pm
tex is a meetup for those seeking skills trade, collaboration, inspiration, techniques, and exposure to topics with an emphasis on fiber, physical computing, textiles, wearables, and all matters of materials.
THE FORMAT:
contribute a tutorial introducing a single topic or technique
gather to make connections across disciplines
leave with tangible, usable techniques and patterns
submit a topic by sending an email to textopic[AT]gmail.com
By Thomas Bey William Bailey on Wednesday, August 6th, 2008 at 1:35 pm.
Image: Carsten Nicolai, Telefunken, 2000 (Courtesy of Galerie EIGEN + ART)
As any techno-cultural aficionado will enthusiastically tell you, the 21st century is the century of "convergence", in which the communications industry progressively rolled out its own rendition of the Swiss Army knife: pocket-sized, hand-held, wireless devices which function simultaneously as movie and music players, mobile phones, gaming engines, internet connectivity devices, still image and video cameras, musical instruments, calculators...with so many functions now capable of being handled by little equipment and energy expenditure, visions of the future both Utopian and dystopian have flown off the shelves at a hitherto unprecedented rate (and wireless electricity is just around the corner as well.) Prophesies abound that this synthesis of communicative modes and cross-pollination of technological functionality is a stepping stone towards realizing some kind of fully-integrated Übermensch; eventually our ability to communicate with and comprehend each other will accelerate to the point where humans morph into sophisticated telepaths. More grandiose yet, there are the fantasies of some ultimate "awakening" along the lines of the "Omega Point" suggested by rogue priest Pierre Teilhard de Chardin, an ultimate synthesis of human intelligence with cosmic consciousness -- the inventor Ray Kurzweil calls the same "universal awakening" phenomenon the "Singularity," albeit with a much more technophiliac gloss to it.
While technological synthesis is being put forward as the harbinger of unbelievable revelations to come, other forms of actually-existing synthesis have been somewhat ignored: fascinating fusions much closer to home than the apocalyptic mergers and comic book catastrophes suggested by overwhelmed "tech-Gnostics" and Silicon Valley shamans. Much has been said and printed about the ongoing fusion of cultures, of genders, of technological functionality, and plenty more besides -- but what about taking this obsession with convergence to a neural and perceptual level, and investigating the fusion of the senses themselves? Consider synesthesia, the common term used for sensory fusion, in which one type of sensory information leads to involuntary responses from another sensory pathway. Within modern culture, this still seems to be a bizarre and novel thing, since we are acclimated to compartmentalization and ordering of just about everything, including our capacities for sound, vision and so on. Although synesthesia has been under research by the scientific community since the late 19th century (Francis Galton is widely recognized as having lit this particular flame in the 1880s), it is still brushed aside by many as an unreliable pseudo-science, as the whimsy of 'loose cannon' mystics who have the most tangential connections to the larger social universe. Over the last quarter-century or so, it has finally gained some ground in the peer-based research community (papers looked over for material to supplement this article almost all dated from the present decade), with a definite neural basis for this phenomenon coming into play: the part of the brain's temporal lobe dealing with textual recognition -- the fusiform gyrus -- is situated next to the part normally associated with processing color information, often leading to situations where synesthetes believe printed characters to have a certain color, even when appearing with a different color on the printed page. Legitimate research aside, a cultural stereotype of the synesthete as a drug-besotted, 'way-out hippie' who 'hears colors' is still not uncommon as comic fodder. The belief still persists that the various means of communicating the synesthetic experience, especially verbally, are nothing more than metaphor. Sorting out voluntary metaphorical expressions from involuntary experiences with synesthesia can be a difficult undertaking indeed. As daunting of a task as it may be to present an image in a 1:1 ratio of correspondence with a sound (we will focus on this type of synesthesia for the purposes of this article, despite color-grapheme synesthesia being the most common form among acknowledged synesthetes), this has not stopped a steady procession of inspired minds from developing a variety of intriguing 'synesthesia simulators.' From the DIMI-S system of Finnish composer Erkki Kurienemmi to the UPIC graphic / sound translating computer of Iannis Xenakis, the late 20th century and early 21st century has seen a steady increase in tools attempting to establish, however awkwardly, the parameters and vocabulary of a synesthetic 'language.'
It is somewhat interesting to note that, despite the admirable efforts of software and hardware designers to create new means of simulating the synesthetic experience, one quite successful method was discovered over a half-century ago, without the aid of any computer equipment. Dr. Hans Jenny, the father of this method, named it cymatics (from the Greek word for wave, "kyma".) Jenny's studies in wave phenomena, their kinetics, and their dynamics are sadly overlooked or unknown by most practitioners of electronic music -- only two volumes of Jenny's studies are currently in print -- but the conclusions drawn by his research into phenomenology would be well worth looking at again, as we collectively lurch towards the discovery of more accurate light and sound synthesizing machines.
Dr. Jenny's method now seems almost laughably simple, a low-budget form of scientific rigor when viewed in the light of the tools mentioned above. Jenny would place substances such as sand or viscous fluids on a metal plate, which was in turn attached to an oscillator controlled by a frequency generator. The plate would amplify the vibrations of the oscillator, and, as the tones produced by the frequency generator were raised or lowered, different patterns would appear in the previously stationary materials: almost without fail, higher frequencies would produce more intricate and elegant patterns in the vibrating piles of sand, gelatin, or whatever other material Jenny was using at the time. The current publisher of Jenny's studies admits to his awe when seeing a small pool of glycerin reveal a "snake" while under the influence of sound waves and some strategic lighting. In these experiments, the tendency of the higher frequencies to 'sculpt' forms with spiritual connotations, such as complex mandalas or yantras, eerily approached Arthur Schopenhauer's personal philosophy of frequency: namely, that higher tones corresponded to a striving toward superhuman greatness while the lower, almost inaudible tones corresponded to the inorganic: the planet's lifeless and will-less forms and masses. Jenny's line of thinking follows Schopenhauer, in that density or heaviness, manifested in bass tones, represented physicality, while flights of thought and emotion were manifest in 'lighter', more evanescent, higher tones.
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Reblog
Originally
by Enrico
from VernissageTV art tv
at August 6, 2008 1:23 am
published by Ceci Moss
The Rest of Now is the title of the Manifesta 7-exhibition in Bolzano/Bozen, Italy. The Rest of Now, curated by the Raqs Media Collective, is set in the disused Alumix aluminium factory. In the first part of our coverage of Manifesta 7's "The Rest of Now" we have a look at works by Harold de Bree, M-City, Dayanita Singh, Zilvinas Kempinas, Nikolaus Hirsch & Michael Muller, Candida TV, and Latifa Echakhch.
The Raqs Media Collective is a group of three media pracitioners: Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. Before co-curating Manifesta 7, Raqs Media Collective has presented work at major international shows such as Documenta and Venice Biennale. They live and work in Delhi, based at Sarai, Centre for the Study of Developing Societies, an initiative they co-founded in 2000. They are members of the editorial collective of the Sarai Reader series.
Manifesta 7, The European Biennial of Contemporary Art. The Rest of Now. Curated by Raqs Media Collective. Ex Alumix, Bolzano / Bozen, Italy. July 27, 2008. Part 1/2.
Reblog
Originally
by Nick Montfort
from Grand Text Auto
at August 6, 2008 12:30 am
published by Ceci Moss
Aya Karpinska has just published a piece for the iPhone and iPod Touch,
Shadows Never Sleep. You can get it for free from the iTunes App Store - just search for it by title. Aya writes:
the piece uses a combinatory structure and the rhetoric of children's literature to tell the story of a restless shadow on a nighttime adventure. I describe it as a "zoom narrative" which takes advantage of the multi-touch interface of the iPhone and iPod Touch to allow readers to swipe their fingers across the screen and zoom in and out of images instead of turning pages.
There are Web-based demos and videos of the piece for those (like me) who lack iProducts. (Luckily, I did get to see Aya show off the piece at her MFA thesis reading this past May, and enjoyed it. Sure, I didn't rush out to buy an iPhone afterwards, but I'm stubborn.) The application is programmed by Nick Dalton; Roxanne Carter modeled to provide the shadow silhouettes.
August 6, 2008
In the late 1960s, the LACMA's ambitious
Art and Technology project sought to bring together contemporary artists with the biggest high-tech corporations of the day. The pairing was inspired: at the time, the art world of Los Angeles played second fiddle to New York, but Southern California was in the midst of an enormous boom in the technology industry, partially aided by an influx of military contracts during the drawn-out war in Vietnam. This year, LACMA published an
online resource dedicated to the project, centered on a 392-page pdf of A & T's long out-of-print
catalog, along with a selection of
press clippings (one major criticism of the day:
no women or people of color were invited as artists.) Over 40 corporations participated, including Hewlett-Packard, General Electric, Lockheed and Pan Am; of the 76 artists asked to submit proposals, 23 found productive matches with engineers and manufacturers. Fruitful combos included Andy Warhol and Cowles Communications (
3-D printing), Robert Whitman and Philco-Ford (a
massive mirror sculpture) and Claes Oldenberg and Disney (a
giant hydraulic icebag), but many other projects were deemed technically or financially unfeasible. A & T's catalog makes for juicy reading, detailing the elaborate culture clash that occurred when suits and scientists had to work with cosmopolitan creative types and utopian longhairs. Perhaps the strangest marriage was that of
John Chamberlain and the RAND Corporation, a military-aligned think-tank then largely seen as intellectual architects of nuclear proliferation and the Vietnam War. For his project, Chamberlain arranged daily screenings in the RAND offices of his nudity-filled film
The Secret Life of Hernando Cortez, starring
Ultra Violet and
Taylor Mead, and circulated a series of conceptual memos asking staffers to submit "answers." One reply simply read: "The answer is to terminate Chamberlain." - Ed Halter
http://collectionsonline.lacma.org/MWEB/archives/a...
By
Tyler Coburn
on Tuesday, August 5th, 2008 at 4:30 pm.
For "The Young and Evil," the latest in tank.tv's ambitious program of guest-curated exhibitions, Stuart Comer considers the "historical contours and shifting relationships of sex and community in the digital age." Comer contends that the Internet has increasingly eclipsed the cinema as the preeminent cultural screen, and consequently divides his exhibition between the venues. Invited guests, including Andrea Geyer, Carlos Motta and Daria Martin, have each selected one contemporary work, for exhibition on tank.tv, and one historical film to be screened in Tate Modern's cinema on September 20th, 2008. But if the separation of venues emphasizes the historical division between works, the exhibition's focus on social deviance and erotics provides a compelling, unifying thread. The most notable of the works currently up on tank.tv play into what Comer describes as the Internet's state of being an "uncanny hybrid of personal longing and collective interaction." Mansfield 1962 (2006), for example, appropriates a Highway Safety Foundation video William E. Jones found on the Internet, which uses 1962 police footage of gay sex in a public restroom to instruct officers about covert recording techniques. Jones has edited the footage to concentrate on discreet moments of sexual pleasure and, at the video's end, the mug shots of participants, who all went on to serve time on charges of sodomy. For The Shape of a Right Statement I (2008), Wu Ingrid Tsang performs one section of autism rights activist Amanda Baggs' forceful address, In My Language, which she published on YouTube in 2007. Tsang's strong, androgynous features and affected computerspeak (true to In My Language) complicate the original work's register of alterity. "The thinking of people like me is only taken seriously if we learn your language," he recites, at one moment, an assertion that rings true for many situated along the margins of society. - Tyler Coburn
Image: William E. Jones, Mansfield 1962, 2006
Link »
By
Marisa Olson
on Tuesday, August 5th, 2008 at 11:03 am.
Los Angeles-based artist Xtine Hanson calls her Mechanical Olympics "an alternative media spectacle to the Olympic games." Indeed, the project humorously turns the otherwise tightly-regulated machinery of both web commerce and international sports competition on their heads. Launching simultaneously with the Beijing games, on August 8th, The Mechanical Olympics invite the public to compete in sports previously restricted to people of specific genders and nationalities. The artist has enlisted participants via Amazon's Mechanical Turk site in which users receive paid commissions for completing tasks almost but not quite so simple a machine could complete them, thus joining the ranks of participatory projects like AddArt, Sheep Market, and Ten Thousand Cents, which also employed this service. Hanson likens this playful outsourcing of labor to working with artificial intelligence. Nonetheless, it's clear that her worker bees are bringing a hefty dose of personal creativity to this web-based role-playing game. A perusal of the videos thus far uploaded to The Mechanical Olympics' YouTube channel features Starbucks baristas working overtime to put their own spin on the classic sport of Hockey, and the woman who represents South Africa in the Freestyle Swimming event could win a gold medal in charm for her combined use of a spray bottle and trippy arm movements. When accepting one of the project's Human Intelligence Tasks (or HITs), the athletes agree to wear a pre-designed sign indicating their sport, gender, and country (they get to pick their own number) and to be paid between $1-3 dollars upon emailing Hanson a URL to their 30-60 second video. The footage will be posted daily, during the Olympics, and voted upon by blog readers. Rather than medals, the winning artificial Olympians receive bonus commissions, much like their more famous counterparts whose accomplishments score them lucrative endorsement deals. - Marisa Olson
Link »
By
Rhizome
on Tuesday, August 5th, 2008 at 10:34 am.
Please join us
Friday August 8th at 7:30PM at the
New Museum for a panel discussion honoring Rhizome's commissioned artists
Mushon Zer-Aviv, Dan Phiffer, David Nolen,
Carolyn Strauss and
Melanie Crean. The talk is a second in a three-part series that features presentations by artists awarded grants through
Rhizome's Commissions Program. Founded in 2001 to support artists working with technology, the Rhizome Commissions Program has awarded fifty-four commissions to-date. Projects realized through the Program represent some of the most forward-thinking and innovative works of media and internet-based art. In this evening's program, the artists will discuss their commissioned projects and larger bodies of work.
BUY TICKETS HERE
Image: Melanie Crean with Chris Sugrue and Paul Geluso, Phrenology (detail), 2007
Reblog
Originally
by chris
from Art Research Communication
at July 23, 2008 9:05 am
published by Ceci Moss
Installing 'Disneylend Express' sign at Rovereto train station
ARC Projects roster artist Kamen Stoyanov has created new artworks for Manifesta 7, taking place in Trentino, Italy, 19 July - 2 November 2008. Stoyanov's work is showing within the context of 'ManifeSTATION' curated by The Office for Cognitive Urbanism.
Migration is a central topic for Stoyanov, whether based on economical, political or personal reasons. If one's attempts at assimilation fail, there remains nothing but a life at the margins of society, excluded and isolated amidst everyday cultural life -- something well known but still foreign. For Manifesta 7, Stoyanov addresses the topic of urban events and art biennials themselves, since they characterize entire cities as cultural territory and thus contain implicit mechanisms of inclusion and exclusion. The cultural homogenization of urban spaces divides the people into those that consume these places and those that have to live in them. The Disneylend Express connects both.
Click on the image below to see a slide show of Kamen Stoyanov’s artwork for Manifesta 7.
[CONTINUED]
Reblog
Originally
by Richard Rinehart
from DMAX
at August 4, 2008 1:50 am
published by Ceci Moss
Berkeley Big Bang 08 was three days of new media and art, June 1-3, 2008, hosted by BAM/PFA and the Berkeley Center for New Media, timed to link with 01SJ: A Global Festival of Art on the Edge, a new media art biennial in San Jose. Occurring together for the first time, these two events combined to create one of the nation�s largest gatherings of new media art.
The Berkeley Big Bang program included a one-day symposium, Embodiment, New Media and the Body, in partnership with Berkeley Center for New Media and a second symposium, Re-Mix: From Science to Art and Back, presented with Leonardo: The International Society for the Arts, Sciences and Technology. The symposia was taped in its entirety and the podcasts, now online, include a thoughtful deconstruction of Second Life by Philosopher Hubert Dreyfus and Dreyfus in lively conversation with Second Life founder, Philip Rosedale.
To view the podcasts, see http://bampfa.berkeley.edu/podcasts/art/bigbang08
August 4, 2008
While the internet has enabled new, transnational collaborations in the form of participatory art projects, the challenge with these increasingly popular initiatives is to credit the contributions and individual ideas of artists who might otherwise float lost in the crowdsourced sea. Wooloo Productions has managed to excel at meeting this challenge, while building the logistics of web-based participation into the concept of their works. Wooloo's newest project is Rebranding Acts, "an investigation into cultural identity in an age of global migration." The initiative invites artists from around the world to consider the ways in which "nationality" is manufactured in their home country, and to "rebrand" these concepts, from their own perspective. While the open call is predicated on the argument that such hegemonic nationalist constructions often exclude identities that don't fit the mold, Rebranding Acts invites anyone to add their voice to the discussion by uploading videos of their own public interventions. The best of these videos will be curated into major exhibitions in Prague and New York, later this year. This is not the first of Wooloo Production's projects to deal with national identity. Co-founding artists Sixten Kai Nielsen and Martin Rosengaard gained worldwide notoriety when Defending Denmark, their "international campaign to rebrand the country of Denmark" which documented 18 months of membership in the ultra-right Danish People's Party, was covered on Al Jazeera TV, launching an international discussion about party lines and artist interventions. If you'd like to join the party of people bringing such important projects to life, visit Wooloo.org. - Marisa Olson
Image: Wooloo Productions (Sixten Kai Nielsen and Martin Rosengaard), Attendance at the Danish People's Party National Congress from "Defending Denmark," 2006
http://www.wooloo.org/
Reblog
Originally
from free103point9 Newsroom
at August 2, 2008 1:35 am
published by Ceci Moss
Performances from: Damian Catera, Melissa Dubbin and Aaron S. Davidson, The Dust Dive & Latitude Longitude, Joshua Fried & Todd Merrell, Tianna Kennedy, LoVid with Howard Huang, Tom Roe, and others at
7:30 p.m. Thu. Aug. 7 at the
New Museum in Manhattan. Attendees will receive a complimentary copy of Radio Action III with admission. Join free103point9, in collaboration with Radio Web MACBA, Barbara Held and Pilar Subirá, for a live performance celebrating Radio Action III, an online radio program produced for RWM and the next free103point9 Audio Dispatch CD Release. Radio Action III features 12 five-minute soundworks conceptually tied to the idea of "radio" as an instrument or theme, composed by free103point9 transmission artists working in collaborative teams. RWM is a radio-phonic project on the Museu d'Art Contemporani de Barcelona (MACBA) website that explores the possibilities of the internet and radio as spaces of synthesis and exhibition. 7:30-9:30 p.m. Live web stream at
www.free103point9.org. CD cover photo by David LaSpina.
Radio Action III track listing:
01 The Dust Dive & Latitude/Longitude, "PARTY COVE"
02 radio_ruido and ben owen, "Dandelions (c/clocked)"
03 LoVid & Michelle Rosenberg, in collaboration with Howard Huang, "Ring in the New"
04 Tom Roe & Scanner, "Airscape"
05 Damian Catera, "deComposition USA"
06 Joshua Fried & Todd Merrell, "Pistol Shrimp"
07 neuroTransmitter, "Chronicle"
08 Anna Friz & Tianna Kennedy, "When radios sleep what dreams may come"
09 Michelle Nagai, in collaboration with Kenta Nagai, "Sleep Radio"
10 Melissa Dubbin & Aaron S. Davidson, "You Love Me Truly"
11 31 Down & Matt Bua, "Wireless Electric Chair"
12 Alexis Bhagat & Sophea Lerner, ".00011574 Hz"
Reblog
Originally
by cory_arcangel
from del.icio.us/cory_arcangel
at August 2, 2008 6:54 pm
published by Ceci Moss
@ Light Industry
Tuesday, August 5, 2008 at 8pm
55 33rd Street (between 2nd and 3rd Avenue....aka Sunset Park), 3rd Floor Brooklyn, NY 11232
Hey, FYI, I will be playing for the first time the COMPLETE Bruce Springsteen Born to Run Glockenspiel Addendum in Brooklyn next week....below is a little bit I wrote about what I am doing.........
In 2006, on a whim, I decided to go uptown to Sam Ash music store, buy a Glockenspiel and record glockenspiel parts for the songs on Bruce Springsteen's Born to Run record that did not already feature that instrument. Most everything I have ever made has been ignited from a similar semi-destructive whim. A certain idea, most often against my better judgment, mixes with my slight OCD, and I can't stop thinking about it until it is completed. Some people count their steps on the way to work...I do this. This project took a few weeks (the glockenspiel turned out a little more difficult to play then it would seem) and eventually ended up as a 12inch vinyl sold off of my website. This release featured just my Glockenspiel playing and a lot of silence in between. The intent was that people were supposed to play my record and the original at the same time. Once I sold out of these I released a FREE mix CD. This featured my Glockenspiel tracks mixed back into Bruce's original. To most people, this second version sounds just like Springsteen. This free CD has been distributed over the past year or so, at galleries, performances, and to friends. Since it is tagged by computers automatically, it has circulated as Springsteen. My thoughts on this version were based on the fact that my own artwork for years had floated around the Internet uncredited, in fact I kinda encourage it, so why not just start it off this way? Cut out the middle man, even if the middle man is myself. Since this gesture is kinda an end game for p2p and art, at light industry I will be doing the opposite..........a live performance. You will get me, playing Glockenspiel live, a real experience, with a live instrument. One night only. Also as an added bonus, after years of fooling around playing only small bits of this composition because I was too lazy to practice the hard parts (i hate practicing an instrument), this will be THE FIRST TIME EVER I HAVE ACTUALLY PLAYED THE WHOLE THING. Mistakes and all! 42 minutes!!! Plus there will be an all new video accompaniment. One could even call it a premiere. A real sensation so to speak. You will see the gesture at its source, before it gets vacuumed up into p2p networks, and its provenance is erased .......... Ill also bring some of those mix CD's 2 give away. So there will be a live performance and a FREE CD, one a pastiche of the other, or both pastiches of whatever, but to be honest at this point I cant see any other way to go. And what role does Bruce play in all of this? Well, nothing to be honest. It was just a whim afterall.
Tickets - $6, available at door.
Photo: Paula Court.
By
Ed Halter
on Friday, August 1st, 2008 at 1:30 pm.
Tonight at Exit Art in New York comes a bevy of performances as part of the space's current potpourri-style exhibit Summer Mixtape Volume 1: the Get Smart edition. Critic and artist Nick Stillman will present a slide lecture on "the best art today," accompanied by sounds from noisemakers Knyfe Hyts and artist Corey D'Augustine. But afterwards some mysterious darkly-glowing strangeness will emerge with "A Network of Love," an event by Donna Huanca (aka RUA MINX), the duo of Daniel Keller and Nik Kosmas, better known as AIDS-3D, and dancer Helga Wretman. Hard details are slim, but according to the trio's own statement, expect a futuristic post-apocalyptic scenario in which "the last children of Eve struggle to maintain their digital lifestyles" after "the old systems of power have collapsed." An earlier blurb from Huanca stated that the show may include such items as drum machines, videos, sewing machines, and animals. Exit Art curators promise us there will be lasers involved; we strongly suspect there may also be black lights and phosphorescent paint. What we do know for sure is that Rhizome's own Ceci Moss will be participating in the sonic aspects of the happening, nicely rounding out the inclusion of Rhizome team members Marisa Olson and Tyler Coburn in the exhibit itself. - Ed Halter
Image: AIDS-3D, Untitled, 2008
Link »
Reblog
Originally
by jo
from Networked_Performance
at July 30, 2008 3:12 pm
published by Ceci Moss
Rencontres Internationales Paris / Berlin / Madrid :: Call for Entries - Deadline: August 25, 2008.
Rencontres Internationales will take place at the Centre Pompidou, at the Jeu de Paume national museum and in other key locations in Paris in November 2008. The same program will be presented in Madrid in April 2009 and in Berlin in June 2009.
Those three events will propose an international programming focusing on film, video and multimedia, gathering works of artists and filmmakers acknowledged on the international scene along with young artists and filmmakers.
ANY INDIVIDUAL OR ORGANISATION CAN SUBMIT ONE OR SEVERAL PROPOSALS. THE CALL FOR ENTRIES IS OPEN TO FILM, VIDEO AND MULTIMEDIA CYCLES, without any restriction of length or genre. All submissions are free, without any limitation of geographic origin.
CINEMA AND VIDEO CYCLES (all film and video formats)
* Video / Experimental video / Video art
* Fiction - short, medium and feature length
* Documentary, experimental documentary
* Experimental Film
* Animation movie
MULTIMEDIA CYCLES
* Installation * Net art * Multimedia performance and concert
[CONTINUED]
Reblog
Originally
by admin
from Space & Culture
at August 1, 2008 10:45 am
published by Ceci Moss
William Lamson (2007-2008)
via Wrong Distance
- Anne
