West 27th Street preview


We were fans of the people now relocated to 27th Street before Time Out New York did its big spread this week.

A lot of the galleries had "previews" tonight before the joint openings tomorrow. Tomorrow should be busy, with at least 20 Chelsea openings listed on ArtCal for tomorrow night.

We dropped by Foxy Production, Wallspace, and the "annex" of ATM tonight. Some highlights:


Hallway connecting Wallspace and Foxy


Kirsten Stoltmann work at Wallspace


Jacob Ciocci at Foxy Production, installation detail


a little late, but what the hell...

Originally posted on bloggy by Rhizome

jimpunk's www(dot)pulp(dot)href



Briefly noted, this excellent video/Net DIY collage piece by jimpunk. You need Quicktime 7 to view. The elements of the grid, the composite, and short loops could all be seen in an earlier work, Michael Ensdorf's Momentary Distractions. What jimpunk adds is the ability to mix and match clips, a slew of pop culture and historical references (a pistol-wagging Benicio Del Toro, Flight 93, Jodie Foster panicking), ambitious graphic design in the more psychedelic patterns, snippets of found and/or industrial style music, and an overall sense of anarchic humor. Net Art seems to be evolving here, or perhaps a better metaphor would be morphing into an explosively violent alien entity, like Natasha Henstridge in Species.


This has been posted before but Tom adds some historical context as well as interesting ananlysis.

Originally posted on Tom Moody by tom moody

Hosts : a major digital art event in Bath Abbey


Martin Rieser:

An Interactive Cinema work for Bath Abbey
Supported by Bath Film Festival 2005

Dates: Bath Abbey Church 9th-27th February 2006 Monday-Saturday 10am-6.00pm


HOSTS is an ambitious project inspired by the motif of Jacob's Ladder on the West front of Bath Abbey. Bristol-based media artist Martin Rieser will hang five giant screens at strategic points of the Abbey space. Wearing a special ultra-sound badge and wireless earphones, the participant in HOSTS triggers the presence of a variety of evanescent projected video characters. As the participant approaches a screen, these individual characters or messengers appear to move forwards from a deep space and come into focus. If the participant then moves on, the characters too pass onwards from screen to screen, keeping pace with them. In this way, once a participant has entered the installation they become part of the story space. By standing in front of a screen they will eventually be paired with and addressed directly through a series of aphorisms by their individual messenger.


HOSTS combines poetry performance, animation and cinema in a unique blend. The words of the spoken and animated aphorisms are apparently those of humans, fraught with ambiguity and misunderstanding. Perverse and fragile, the aphorisms hover between the portentous and the mundane, inflected over and over into different meanings by the messengers. We are captured by the messengers and hurled into their drama in the same way that an unwilling passenger in a train can be given someone's life story. This is not always a comfortable experience. HOSTS is intended as a spiritually enhancing experience for a broad audience, not usually drawn to a media art gallery. [More....]


Originally posted on Rhizome.org Raw by Martin Rieser

Faust Forward - The Faust Forward Tapes


Faust Forward Tapes Cover

Faust Forward's "The Faust Forward Tapes"

Faust Forward is Stephen Olson (the having the idea part) and Michael Bell-Smith (the making the thing part)


A whirlwind listening experience. It's pretty self-explanatory once the file starts loading. Extra points for the wordplay and evoking the mystery of the score versus chance--something hard to decipher once compressed into an mp3! ~marisa

Originally posted on The Copyright Convention by Rhizome

Starbucks Center of Garvity - Dec 2005


Spurred on by a discussion on Kottke.org, I decided it would be interesting to find out what the Starbucks Center of Gravity in Manhattan is (note: On kottke they are looking for density, not center of gravity which I thought was more fun...). What does "center of gravity" mean? Well, it means the exact place you can stand in Manhattan and be closest to ALL Starbucks. As if every single Starbucks was pulling you equally in its direction, this is the place where u could stand to feel the most Starbucks power...and not just within a few blocks radius, but for the whole Island! Think of it like being at the North Pole for overpriced coffee...The power center / death star if you will allow me to go that far.... [....] THUS WE HAVE THE CENTER OF GRAVITY which turns out to be here:

somewhere between 5th and 6th, in between 39th and 40th [....]


Full post also includes further credits and a list of lat/long points for all NY Starbucks, as of this summer--though I think some new ones have opened inside the storage rooms of some existing ones, since then..? :)

Originally posted on Cory's Web LOG by Rhizome



M/E/A/N/I/N/G Online, specifically, has returned with issues #1 and #2 available again and part of the 2006 issue up. The magazine, with print and online dimensions, deals provocatively with art and includes writing from poets and critics as well as artists. Of particular interest to us here on Grand Text Auto: the second issue, from 2003, on collaborations. (Interestingly, the Summer 1961 issue #2 of Locus Solus, edited by by John Ashbery, Kenneth Koch, Harry Mathews, and James Schuyler, was about collaborations, also.) Issue #2 of M/E/A/N/I/N/G Online includes, for instance, an article by Michael Mazur about his collaborations with Robert Pinsky and Robert Townsend. And lots of other collaboratively-written articles about the topic, too.


Originally posted on Grand Text Auto by nick




Paul Murnaghan is offering to sell part of his memory capacity. This is in order to create a monument* to the recollections of any interested party. Individuals that wish to preserve the memory of some moment, person or obsession should get in contact with Murnaghan at one of the contacts below. A meeting will be arranged where the memorious content will be communicated and stored in the artist’s brain. Due to the fallibility of the human memory and its continual exposure to contaminating influences, the substance of the monument may corrupt over time. The possibility of pollution by other experiences is seen as an inevitable part of this process. No test of recall or future examination will be entered into.
A text version of the memory will be wax sealed inside of a certificate of authentication. The sole copy will be offered to the purchaser as a precise record of the content of the described recollection. The monumentalizing of this content does not bear witness to its validity or act as ‘evidence of truth’ within the inherent material.

E: mail -AT- memorious.info T: 00353 1 4542254
*Monument fee is determined by purchaser.
Offer is valid 14 - 28 January 2006 only.

Posted to


Originally posted on Stunned by Rhizome

Prix Ars Electronica 2006



International Competition for Cyberarts

The Prix Ars Electronica - International Competition for Cyberarts is being conducted for the 19th time in 2006. In addition to the classic categories-Interactive Art, Net Vision, Computer Animation / Visual Effects and Digital Musics-Digital Communities and [the next idea] Art and Technology Grant competition that debuted last year will be reprised.

Online Submission Deadline: March 17, 2006; Total Prize Money: 117,500 Euro; 6 Golden Nicas; 12 Awards of Distinction; Up to 12 Honorary Mentions in each category.

INTERACTIVE ART: The "Interactive Art" category is dedicated to interactive works in all forms and formats, from installations to performances. Here, particular consideration is given to the realization of a powerful artistic concept through the especially appropriate use of technologies, the innovativeness of the interaction design, and the work's inherent potential to expand the human radius of action.


The "Computer Animation / Visual Effects" category has been part of the Prix Ars Electronica since its very inception. It recognizes excellence in independent work in the arts and sciences as well as in high-end commercial productions in the film, advertising and entertainment industries. In this category, artistic originality counts just as much as masterful technical achievement.


Contemporary digital sound productions from the broad spectrum of "electronica" come in for consideration in the "Digital Musics" category, as do works combining sound and media, computer compositions ranging from electro-acoustic to experimental music, or sound installations. This category's programmatic agenda is to expand horizons beyond the confines of individual genres and artistic currents.


The "Net Vision" category singles out for recognition artistic projects in the Internet that display brilliance in how they have been engineered, designed and-especially-conceived, works that are outstanding with respect to innovation, interface design and the originality of their content. The ...


Originally posted on networked_performance by jo