Rhizome.org Recent Discuss Posts

Internet Delivers People (2008) - Ramsay Stirling

curt cloninger — 2009-01-05T21:38:48+01:00

Thanks Brett.

I've been thinking a lot lately about de Certeau's "The Practice of Everyday Life" and its relative (in)applicability to interweb art. Richard Serra made his original "Television Delivers People" piece in 1973, and de Certeau wrote "The Practice of Everyday Life" in 1980, both times when the one-to-many medium of television pervaded everyone's lives. Perhaps the best one could do then was to become a tactical consumer, creatively reconstituting the "content" delivered via the state-controlled TV "medium." But to take that same "weak" tactical approach on the interweb, a medium that has always been any-to-many, seems a kind of easy cop-out. Yes, there is and always has been a whole lot of commercial detritus floating around online, but is my only option to detourn it at a surface/content level, as if I had no access to the guts of the network, no access to my own means of "content production"? I can make my own http://cnn.com ( it's http://onion.com ). If I choose to wreck my own net art car on the "information superhighway" (however allusively or ironically), this doesn't prove that all net art cars on the highway are doomed to crash. Where is my flying net.art car?

In a recent interview, Cory Arcangel mused why contemporary net art is so interested in comedy (and why youTube has turned into America's Funniest Home Videos). One answer might be that it's easier to be coy, cynical, and cryptically allusive than to bite off the Herculean (and easily ridiculable) task of massively modulating/modifying culture. Cory's own work is more admirably Warholean than the work of most of his delicious.com re-blogging followers. But I have to wonder -- can an army of purposefully a-political, barely discernible, self-referential, online detritus re-hashers somehow magically equal a tactically ingenious, below-the-radar, cultural revolution? Or is this the wrong reactionary model of tactical resistance for a medium that has always afforded non-commercial entities a much greater "strategic" production agency than television?

Call For Proposals, theory and ideas: "As the "Art" World Turns"

Lisa11 — 2009-01-05T07:17:54+01:00

The article is very good and useful for the persons who are interested in art.

Lisa11

Drug Intervention Illinois

Virtual Art @ Broadway Gallery NYC, Opening Feb 19, 6-8PM

Filthy Fluno — 2009-01-05T04:33:21+01:00

It's SO great to see this kind of show hitting the big apple at Broadway Gallery!

INVISIBLE CURSOR.COM (2008) - Rafael Rozendaal

rafael rozendaal — 2009-01-04T02:31:52+01:00

yeah!

Call For Proposals: Plutopia 2009

Scott Blake — 2009-01-03T16:58:31+01:00

My name is Scott Blake and I make art with barcodes.
http://www.barcodeart.com
I would like to setup my interactive Barcode Art at the 2009 Plutopia Party.

My traveling Barcode Art show is completely portable, stand-alone art exhibit. I use backdrop stands to make 8 foot tall light boxes that are quite impressive. Some familiar faces include: Elvis Presley, Marilyn Monroe, Arnold Schwarzenegger, Ozzy Osbourne, and Bruce Lee. http://www.youtube.com/watch?v=9widLwDym78

With each scan of a barcode comes a surprise. I have developed an barcode scanning interface which brings the portraits to life. http://www.youtube.com/watch?v=eEWXawLXZHM

It takes me about 2 hours to setup the entire exhibit and 45 minutes to take it down. I can setup almost anywhere. I recently set up in a gymnasium. http://www.youtube.com/watch?v=ISUAYrZcYTg

An update on MTAA's

MTAA — 2009-01-03T02:45:39+01:00

An update on MTAA's Automatic for the People: ( ) project
Artists MTAA will conduct a performance on Feb 7 at the San Francisco Museum of Modern Art. What they do during this performance and how they do it is up for a vote.

Go here to participate: http://mtaa.net/vote/

+++

This is the situation thus far...

Prologue - a live audience at SFMOMA votes that the Automatic for the People: ( ) performance should happen in SFMOMA's freight elevator
Poll 1 - the people decided that the performance should be titled: Automatic for the People: (We Solemnly Promise That No One Will Get Naked)
Poll 2 - it is decided that the duration of the performance should be "the exact same length as R.E.M.'s 'Automatic for the People' album"
Poll 3 - house plants, 2x4s, lawn chairs and a PA are to be used as props during the performance
Poll 4 - we've been directed to refer to these themes during the performance: Marcel Duchamp, chat rooms, ukuleles and take-out food
Poll 5 - we will game, build, dance and photograph (slowly) during the performance
Poll 6 - we'll be dressed as robots
Poll 7 - the general public will be allowed to attend the performance
Poll 8 - Refreshments! Poll now OPEN! http://mtaa.net/vote/

wine and cheese
milk and cookies
beer and pretzels
tea and crumpets
martinis and olives
espresso and biscotti
popcorn and soda pop
root beer and ice cream
coffee and cake
bread and water

http://mtaa.net/vote/

shortest day

NashG — 2009-01-02T07:30:04+01:00

Hi,
''SOUND ON" really seems to so interesting quote which you have quoted above.The picture posted above exactly describes your thought about the Shortest Day.

Drug Intervention Arizona

Twitter Art is Dead, Long Live Twitter Art!

curt cloninger — 2009-01-01T21:24:25+01:00

Hi Jon,

This is a good example of how "2.0" net artists who use corporately created social networking tools (aka "surface level content templates") to overtly (or even subtly) critique said networks are always going to be "subject" to the corporate control of the institutions in charge of those networks. The recent "Pirates of the Amazon" project is a similar example (although it is seems more ingeniously conceived than this twitter example, because it didn't rely on Amazon's hardware/software/system, and thus Amazon had to resort to the external legal system to shut it down). An earlier example is Keith Obadike's Blackness on sale at eBay. The "aw shucks," cluetrain-manifesto-inspired, neo-corporate-cuddly speak used on the Twitter suspended site page ( http://twitter.com/suspended ) is telling. They are not offended, legally threatened, or even critiqued. They are comfortably in control of their own spin as they endearingly eradicate every trace of the project.

This is the conundrum of critical art in the era of corporately commodified social networking. How does a tactical media artist hack a corporate service (like mySpace) that is alread purposefully left open to be user-configured? Either we have arrived at open source utopia and we simply need to begin using these networks as they afford, like all the other happy users; or the agency of our radical protests have been rendered irrelevant because the corporations have decided to let the people eat cake (provided we eat cake in their approved way). Any further protestations simply seem like sour grapes (or, in this case, spam). "We gave you twitter for free, why are you munging up (y)our utopic network?" "We gave you reasonably priced access to Amazon's DVD database, what are you bitching about now?"

It seems like for such a project to succeed (and to me, mere canonization in parochial net art circles as yet another conceptual/tactical one-liner doesn't count as "success"), it needs to somehow be more widely distributed. Either a bunch of people employ these bots at the same time, or there is some kind of purposeful residual trace built into the life-cycle of the project, something to live on beyond a few screen shots, blog posts, and discussion board dialogues.

Either that or abandon situationist "tactical media" paradigms altogether and move towards something akin to De Certeau's "user as tactical consumer." But that is a longer essay.

Best,
Curt

1st Thread of 2009!

Vijay Pattisapu — 2009-01-01T05:06:17+01:00

1st thread of 2009.

Afghanistan The MOVIE!

Joe Edit — 2009-01-01T03:51:56+01:00

In order to counter waning viewer interest in the country the Afghani Ministry of Culture has announced a deal with Miramax films to put them back on the front page.

for more see
http://www.slanderous.org
"sue me? I have a bear stearns account.."

WARDAK PROVINCE

Vijay Pattisapu — 2008-12-31T20:12:25+01:00

http://rhizome.org/editorial/2184#comment-54464

Call For Proposals: ::: Investigating Ruptures in the Art Political Grid :::

A. Andreas — 2008-12-31T19:45:12+01:00

go ahead!

A.Andreas

My New Book

2008-12-31T19:40:45+01:00

n0ice just renewed my amazon prime my mouse 'bout to start one-click-buyin up a staccato storm up to and including this purchase

Interviewing the Crisis

2008-12-31T19:35:10+01:00

george w bush 2012... vp ron paul... silver haired experience and the gold standard, make this country a diamond

Call For Artists: CGI + Fine Art = ?

2008-12-31T18:32:13+01:00

hey.. this happen already.. called video game

2009

Salvatore Iaconesi — 2008-12-24T23:08:02+01:00

Digital Encounters @ Sabanci Univesity Jan 5 - 8

Murat Durusoy — 2008-12-23T20:14:35+01:00

International Symposium Week from the 5th to the 9th of January 2009
Symposium Chair Dr. Lanfranco Aceti
Associate Professor in Contemporary Art and Digital Culture
Sabanci University, Faculty of Arts and Social Sciences

Monday January 5, 2009
Sue Gollifer and Paul Brown
3:00pm to 6:00pm Performing Arts Center, Sabanci University
Information Arts: Arts, Sciences and Technology; Is Interdisciplinarity Really Possible?
The session will focus on the issues that are raised by artistic practices which operate at the boundaries of interdisciplinary research. Contemporary visual cultures increasingly portray a landscape where technological applications, visionary artistic interventions in the sciences and scientific approaches to fine art research provide the framework for hybrid artistic and cultural practices that blur boundaries, making it increasingly difficult to define the fields of operation. Is this a new digital Renaissance or a process within which the arts are losing their aesthetic and traditional focus?

Tuesday January 6, 2009 Sue Gollifer 3:00 pm to 4:15 pm Performing Arts Center, Sabanci University
Curating Digital Art: From SIGGRAPH to Second Life
The history of computer and digital arts is strictly linked to the curatorial issues that these new media formats have encountered in the affirmation of a new aesthetic. Sue Gollifer, pioneer artist and academic who has curated exhibitions of computer and digital art for SIGGRAPH, will examine the conflict and conundrums generated by both the materiality and immateriality of the medium and the artwork. What are the successful strategies for curating contemporary new media? And what is the role of a print when it is extracted from a digital artwork, does it become documentation or an artwork in its own right?
Paul Brown 4:15pm to 6:00pm Performing Arts Center, Sabanci University
A Life in Between Art and Science: A History of New Media through a Personal Artistic Practice Contemporary artistic practices take for granted concepts of interdisciplinarity, transmediation and hybridization. The artistic and scientific exploitation of the creative synergies produced by intermingling art and science is a methodological process harnessed in media labs across the world. Professor Paul Brown, a pioneer whose art practice moved across a range of disciplines, will, through his own artistic practice, offer an insight into the history as well as future visions for new media.

Wednesday January 7, 2009 3:30pm to 7:30pm KASA Gallery, Karakoy
Paper presentations
3:30pm to 4:00pm Sue Gollifer,
4:00pm to 4:30pm Paul Brown
4:30pm to 5:00pm Lanfranco Aceti
5:00pm to 5:30 pm Selcuk Artut
5:30pm to 6:00pm Elif Ayiter
6:00pm to 6:30pm Selim Balcisoy
6:30pm to 7:00pm Ekmel Ertan
7:00pm to 7:30pm Murat Germen

New Media Cultures: Traditions and Changes in Contemporary Artistic Practices
Contemporary digital technologies facilitate encounters, representations of images and cultural exchanges. In this new landscape of digital cultural encounters, old traditions and new practices are in both conflict and symbiosis. The contemporary artistic practices reflect the socio-cultural landscape created by new technological applications, defying notions of discipline, borders and space as well as cultural restrictions.
Thursday January 8, 2009 Sue Gollifer 6:00pm to 7:30pm KASA Gallery, Karakoy
The Digital in the Gallery: A Conflicting Relationship?
What is the relationship between the increasing immateriality of the artwork and contemporary art galleries? Has the digital facilitated the production and dissemination of new artistic practices or instead homogenized the artistic landscape? The role of contemporary digital curators is that of providing both an aesthetic experience for the viewer as well as the guidance through the increasingly complex nature of information arts which by intersecting art, science and technology require the viewer to embark upon a complex journey made of scientific data, aesthetic theories and cultural referential.

Speakers Biographies

Sue Gollifer

is a Principal Lecturer in Fine Art in the School of Arts and Communication and the Course Leader for the MA in Digital Media Arts (DMA) and for the MA in Printmaking and Professional Practice at the University of Brighton, UK. She has been a professional artist/printmaker for over 30 years, exhibiting work regularly throughout the world and her work is held in major national and international public collections. Her primary research is on 'the impact of new technology within the practice of Fine Art'. A pioneer of early computer art, she has continuously explored the relationship between technology and the arts and has written extensively on this subject. Gollifer has participated on a number of international conference panels, and her writing has appeared in fifteen scholarly publications and refereed journals. She is also a PhD supervisor in digital processes in fine-art practice.

Paul Brown

is an artist and writer who has specialized in art, science & technology since the late 1960s and in computational & generative art since the mid 1970s. His early work involved creating large scale lighting works for musicians and performance groups (Meredith Monk, Music Electronica Viva and Pink Floyd) and he has an international exhibition record that includes the creation of both permanent and temporary public artworks dating from the late 1960s. He has participated in shows at major venues including the TATE, Victoria & Albert Museum and ICA in the UK; the Adelaide Festival; ARCO in Spain, the Substation in Singapore and the Venice Biennale. His work is represented in public, corporate and private collections in Australia, Asia, Europe, Russia and the USA. In 1996 he won the Fremantle Print Award.

Lanfranco Aceti

works as an academic, artist and curator. He is Associate Professor in Contemporary Art and Digital Culture at the Faculty of Arts and Social Sciences, Sabanci University, Istanbul. He has written for Leonardo and Art Inquiry and his interdisciplinary research focuses on the intersection between digital arts, visual culture and new media technologies. He is specialized in inter-semiotic translations between classic media and new media, contemporary digital hybridization processes, Avant-garde film and new media studies and their practice-based applications in the field of fine arts. He is also an Honorary Lecturer at the Department of Computer Science, Virtual Reality Environments at University College London. He has exhibited works at the ICA in London and done digital interventions at TATE Modern.

Selcuk Artut

was born in 1976, lives and works in Istanbul, TR. He has received his BSc in Mathematics from Koc University and his MA in Sonic Arts from Middlesex University, London. Currently, he is teaching at Sabanci University as a full-time faculty member. His artistic activities are mainly focused on new media practices such as sonic arts and interactivity. His selected exhibitions and performances include Substairs Sound Installation (Istanbul Biennale, 2007), Improvhelsinki (Helsinki, 2007), Bares do Porto (Portugal, 2006), New Electronic Music (Istanbul, 2006) and Aldwych London Transport (London, 2004). He is also practicing as a professional musician, playing with a band Replikas (www.replikas.com) since 1998.
More info: http://www.selcukartut.com

Elif Ayiter

aka. Alpha Auer, is an artist, designer and researcher, specializing in hybrid educational methodologies between art and computer science, as well as conducting research in data visualization and the development of kinesthetic, biological and somatic interfaces between physical space and the metaverse in collaboration with computer scientists. She has presented both research and creative output at conferences including SIGGRAPH, Consciousness Reframed, Creativity and Cognition, ICAT, Mutamorphosis and Computational Aesthetics. She is currently studying for a doctoral degree at the Planetary Collegium, CAiiA hub, at the University of Plymouth with Roy Ascott. Web: http://www.citrinitas.com

Selim Balcisoy

Selim Balcisoy obtained his B.S. in Electronical Engineering from the Swiss Federal Institute of Technology, Zurich (ETH) in 1996. He received his PhD on Computer Science in 2001 from the Swiss Federal Institute of Technology, Lausanne (EPFL). Between 2001 and 2004 he was Senior Research Engineer at Nokia Research Center USA, where he conducted research on mobile graphics. His research interests include Augmented Reality, Virtual Environments, Cultural Heritage and Mobile Graphics. Dr. Balcisoy (co)authored over 30 publications at refereed international journals and conferences, and has been granted one U.S. patent.

Ekmel Ertan

Worked internationally as design and test engineer on telecommunication systems and after returning to Istanbul, started a multimedia design company and taught multimedia / visual communication design. He exhibited photography artworks in New York, Diyarbakir and Ankara and created installations and cooperative performance works in several international venues. Ertan is the founder member of amber Beden-Islemsel Sanatlar Dernegi (Body-Process Arts Association), a laboratory and research-and-production platform on new technologies in art. Ertan was the curator and director of the amber'07 Body-Process Arts Festival in 2007 and amber'08 arts and technology festival in 2008 in Istanbul.

Murat Germen

is an academician, artist and photographer. He has an MArch degree from MIT, where he went as a Fulbright scholar and received AIA Henry Adams Gold Medal for academic excellence. Works as a professor of photography and multimedia design at Sabanci University in Istanbul. He has been invited to seminars, symposia and conferences like SIGGRAPH, Mutamorphosis, CAe 2008, CAC2, EVA-London’08, eCAADe, ASCAAD to lecture on new media, contemporary photography and architecture. Has opened over thirty inter/national (Turkey, USA, Italy, Germany, UK, Mexico, Portugal, Uzbekistan, Greece, Japan, Russia, Iran, India) exhibitions. Has received inter/national awards, mentions for work on photography, design and architecture.

Net Art 2.5 private beta

ganesh nandre — 2008-12-23T09:32:33+01:00

Hi,
this site is nice man. I just love this site. Its too useful for me. keep it up. :)
<a href="http://www.drug-intervention.com/north-dakota-drug-intervention.html">Drug Intervention North Dakota</a>

Receipt

Alex Nodopaka — 2008-12-22T23:48:15+01:00

Your uploader is down... here's my sub.
Send me a bottle of Vodka if there's any prize!

http://i11.photobucket.com/albums/a176/russkigypsy/nodopakareceiptsub.jpg

We Cannot Continue Without Your Support

Turbulence.org — 2008-12-20T19:11:45+01:00

Dear Friends,

Mark Amerika says: “Turbulence is a permanent part of the digital art and electronic literature curriculum I have developed at the University of Colorado and a major component of our special topics courses too. The students who pass through our media arts program are amazed at everything Turbulence has achieved over the years. A common response is something like “I had no idea artists made work like this.” And then, with a little more direction, they too begin making networked art projects. To us, Turbulence is one of the most important cultural institutions on the planet! (Helen) and Jo have single (double)-handedly played a huge role in making it possible for higher arts educators like myself to successfully teach the networked arts.”

We know for a fact that many of you use our resources to teach digital art and new media. And many others have written to tell us how great an impact we’ve had on their careers. Please, show us how much we matter by making a donation right now.

2008 was our most active year yet. We launched 30 COMMISSIONED works on Turbulence.org and Networked_Music_Review; co-presented two exhibitions – MIXED REALITIES (with Ars Virtua and Huret & Spector Gallery) and LUMENS (with Greylock Arts and MCLA Gallery 51); co-presented two symposia – FLOATING POINTS 5: MIXED REALITIES (with Emerson College) and PROGRAMMABLE MEDIA II: NETWORKED_MUSIC (with Pace Digital Gallery); co-presented UPGRADE! BOSTON (with Massachusetts College of Art and Design); and participated in Upgrade! International: CHAIN REACTION (Skopje Macedonia).

WE WOULD VERY MUCH LIKE TO CONTINUE, BUT CANNOT WITHOUT YOUR HELP.

No amount is too small!

Pay via PayPal on http://turbulence.org or send a check to New Radio and Performing Arts, Inc., 124 Bourne Street, Roslindale, MA 02131.

Thanks for your generous support.

Warm Regards,

Jo-Anne Green and Helen Thorington,
Co-directors, New Radio and Performing Arts, Inc.