Posts for December 2005

How to make the giffords by yourself (pt 1)

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OK, now I'll tell you how I make giffords. Giffords is what I call animated gifs because that's funny to me.

After I tell you how to make the giffords, you can make em yourself. That is, unless you're scared! Or if you're a bummyass bum! [....] Sike, I'm just playing. Only do gifs if you want to!

Ok, the software I use is ImageJ, a Java-based image [....]

hateit

hateit

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This guy is my new FAVORITE net artist. What is weird (at least in the final moments of 2005) is that he's never exhibited his amazing work. As a fan of his work (specifically his gifs, which get posted on this blog), I recently became pen pals with him, at which time I discovered he's a brilliant scientist & freshly-minted PhD who's utterly compelled to make these [super awesome] gifs. In other words, he's a serious artist!

Originally posted on u mean competitor by Rhizome


fat and phat NYTime's article on videoblogging

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t.whid:

http://www.nytimes.com/2005/12/11/arts/television/11mack.html


not sure how much Rhizomers are down with the whole
videoblog/vlog/podcast thing, but this article is fawning.

Wish we could get something about net art that is this celebratory.

--
www.mteww.com

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Originally posted on Rhizome.org Raw by t.whid


We Are All Together @ Artists Space

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Marisa Olson:

Dear New York-area Rhizome readers,

I'd like to invite you to a show I've curated at Artists Space
(artistsspace.org), called "We Are All Together: Media(ted) Performance,"
as part of their Empty Space with Exciting Events, in conjunction with the
Performa 05 biennial. (Yes, it's a mouthfull...)

The artists are Sabrina Gschwandtner + Cat Mazza, MTAA, Kate Pocrass,
Chris Sollars, and Lee Walton, and they are each showing work that
involves some sort of mediation--with viewers, computers, etc. The 'band
night' -slash- opening is this Weds (12/14) and Släang (aka Hector Ducci)
will give an a/v performance 7-9ish...

While most of the works involve internet-based collaboration, others
involve offline mediation within social networks. Thinking about the
similarities and differences within these two modes of production has been
an interesting process. I know that, on this list, we've been discussing
the ever-so-slightly increasing popularity/acceptance of new media; yet,
it's interesting to consider how the discourses of networks, platforms,
codes, protocols, and interfaces have carried themselves over to (or
perhaps been imported from, if not reciprocated) offline
representations...

Anyway, Artists Space is in Soho at 38 Greene, at Grand. It would be great
to see you there!

Marisa


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Originally posted on Rhizome.org Raw by Marisa Olson


Rhizome Promotion: Host Your Posts

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Where do you keep your diary? Does it have a domain of its own or is it tucked away behind a third-party URL? Now is the time to get your blog, vlog, or homepage hosted by the company Rhizome trusts to host its site. Broadspire now offers you affordable web services and a chance to drop a dime in our donation box by mentioning 'Rhizome.org' on your registration form. For a low $65 annual payment, you'll get 350MB disk storage, 1GB data transfer a month, POP email, free setup, and daily content back-ups. They also offer larger plans for those with more to say and store. As a special thank-you for signing up, Rhizome will list your name and URL on our front page. Get hosted for the holidays and help make our season bright! - Rhizome.org

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We Are All Together: Media(ted) Performance

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From Tuesday, 12/13 to Saturday 12/19, MTAA will be showing a new work in Artists Space’s “We Are All Together: Media(ted) Performance

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Originally posted on MTAA Reference Resource by M.River


University of Georgia's Peabody Archive selects SAMMA for videotape migration project

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Media Matters' automated system to preserve and digitize priceless collection

The University of Georgia’s Peabody Archives has signed with Media Matters to use their System for the Automated Migration of Media Archives, or SAMMA, to migrate over 2,000 recordings submitted by local television stations around the United States for consideration in the annual Peabody Awards competition between 1973 and 1990. The project, funded by the National Park Service’s “Save America’s Treasures

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Note that this is made possible by a grant from the National Park Service. Quoth Clay Shirky: "The FCC is the EPA of the twenty-first century ..." -- fh

Originally posted on D A V A<br>Digital Audiovisual Archiving by Rhizome


Sizzling Student Show

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Twice each year, New York University’s Interactive Telecommunication Program (ITP) hosts a two-day explosion of interactive sight, sound, and technology. The show displays around 100 student projects and draws roughly 2,000 visitors. Transforming 721 Broadway into an extravaganza of flashing lights, moving parts, and beeping robots, this winter’s line-up promises the same diversity and creativity, including such fancies as talking seashells, VJs, decaying instruments, and surveillance fashion. The students explore a wide range of fields including, but not limited to, interactive art and sound, assistive technology, wireless devices, and physical computing. The exhibition is free and open to the public. - Alyssa Wright

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DXARTS Ph.D. Program, Applications Due Feb 3, 2006

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The Center for Digital Arts and Experimental Media (DXARTS) at the University of Washington in Seattle is seeking strong applications for its new path-breaking Ph.D. program. DXARTS is an autonomous degree granting Center in the College of Arts and Sciences at the UW. The new Ph.D. program embraces an expansive range of digital and experimental arts practice and research across multiple disciplines. Faculty and students in DXARTS work both in established areas of experimental arts such as Digital Video, Physical Computing, Mechatronics, Computer Music and Sound Art, Computer Animation, Telematics, etc., as well as pursue innovative areas of arts research and creative context that have no media allegiance or historical precedent. Creative work underway in DXARTS draws from all combination of arts and sciences, and actively seeks the invention of completely new domains of arts practice.

The deadline for receipt of complete applications for the Ph.D. program is February 3rd, for Fall 2006 admission. Though DXARTS highly encourages applications from all interdisciplinary fields of experimental arts practice, special attention will be focused this application cycle to artists whose backgrounds include instrests and strong skill sets in, computer programming, data acquisition, 3-D modeling, cnc machining, rapid prototyping, mechatronics, robotics and networked environments. International students should apply as soon as possible due to the extra administrative time needed to process these applications.

For more information about DXARTS , see:<

http://www.washington.edu/dxarts/academics_phd_application.php< />

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Originally posted on Rhizome.org Raw by shawn brixey


DriftNet

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When I think about the word "NetSurfing", I found that we are net surfer who can't swim. In a different word, we are never free on the net without browser ready-made surf board.

In DriftNet, users interact with data-wave by using their body like they would on a real beach.

DriftNet" is connecting to World Wide Web. The first website DriftNet accesses is chosen depending on the location of the exhibition site.

0000123.jpg

The data is displayed in hexadecimal format without encoding. The screen shot of the website covers the surface of the wave, is decomposed into abstract color element and generates unlimited variation of wave appearance. Movements of the audience are analized and conveyed to the wave as the vector of the plural forces with location, direction and integer value.

When the wave is moved fast, the link from the URL which generated the wave comes to the surface. After some time, the wave of the first link fades out and "DriftNet" chooses the next URL (the one which is nearest from center of floor.) At this time, audience can't control the behavior of "DriftNet". It is decided by the condition of the wave as the result of accumulation of audience action. And "DriftNet" accesses the web site and downloads the data. And data-wave surges to the audience again...

Movie.
Also by Hirakawa Norimichi: Global Bearing.
Via del.icio.us.

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Originally posted on we make money not art by Rhizome


Pain and Game

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The actual issue of Kunstforum, a monthly booklike (400+ pages) german publication about art, has a special about “Art & Games

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