Posts for November 2005

Web Statistics Poem Generator


While reading the blog of the code-artist mez (Mary-anne Breeze, a.k.a. net_wurker), I encountered her Web Statistics Poem Generator v.1, a blog entry which specifies a process resulting in a poem.

_Input:_ 3/9/05 key word entries

1 + 3 + 5 + 7
4 + 8 + 10

11 + 13 + 15
16 + 17 + 20
21 + 22 + 23


the Syntax of Inertia
a technique feeder

its emotional body style
depends upon
Aldous energy + machine, mez

Tags: , ,



Originally posted on WRT: Writer Response Theory by Jeremy Douglass




Pleix compiled images from 1609 outdoor live webcams around the world, recording one frame every 10 minutes during a 24-hour span in January 2004. The images were then arranged within a grid based on their geographical locations, and replayed, thus creating a global map composed of synchronized video. Camera zooms and pans navigate between the macro and micro views.

More information on Pleix and Netlag, from the Australian Centre for the Moving Image. [More....]


Video at the link...

Originally posted on Split Screen by James Seo

Book Opportunity


Doug Easterly:

I am doing a book project with Thomson Press consisting of about 12-14 chapters, where each chapter will highlight an artist doing interesting work with Flash. This is not to be a typical Flash book showcasing technical gymnastics. While technical innovation is a plus, I hope to highlight artists who are using Flash with provacative/critical content.

If you would like to participate, please send me an email with a url of your work.


Doug Easterly
D o u g l a s E a s t e r l y
Assoc. Professor of Computer Art
Syracuse University / Transmedia


Originally posted on Raw by Doug Easterly

European Media Art Festival



Smart Art

The European Media Art Festival is one of the most important current media art forums world-wide. For the 19th time, the festival will present a comprehensive overview spanning the whole range of this young genre of art.

Under the motto Smart Art, we will present works that question social conventions, take familiar things out of their context and subtly track down the absurdities of individual and social everyday life. The approaches range from popular subjects to provocative statements that go down new paths of artistic debate in film, installation and expanded media, making playful and intelligent use of various media. [More....]


Originally posted on networked_performance by jo

Rafael Lozano-Hemmer: 3 expos


Add Image Description Here
Marisa Olson:

From: Rafael Lozano-Hemmer
Date: Nov 21, 2005 4:31 PM
[....]Here are announcements for three large exhibitions that are taking place in Switzerland, Britain and Germany before the end of the year. [....]

Solo exhibition at Galerie Guy Bartschi, Geneva, Switzerland.
5 November 2005 to 14 January 2006
Exhibition featuring kinetic sculptures, video, photography and interactive environments. A catalog is available with texts in English and French. Includes the premiere of "Entanglement", an installation with two neon signs that write emails to each other so that they are both simultaneously on or off. NB: In early December, "Entanglement" will also be shown at Art Basel Miami at OMR Gallery and at the transitio_mx festival in Mexico City.

A large-scale public art commission for the East Midlands region in England.
25 November to 4 December 2005: Brayford Campus, Lincoln University
12 January to 22 January 2006: Humberstone Gate, Leicester
3 February to 12 February 2006: Market Square, Northampton
24 February to 5 March 2006: Market Place, Derby
17 March to 26 March 2006: Canal Side at Castle Wharf, Nottingham
Under Scan is an interactive video installation for public space. In the piece, passers-by are detected by a computer tracking system that activates video-portraits projected within their shadow on the ground. Over one thousand uncensored portraits of local people are activated by the shadows.

Installation at Postdamer Platz, Berlin, Germany
Presentation: 29 November 15:00 at Postdamer Platz 10
Show: 13 December 2005 to 8 January 2006
A matrix of 1,800 fluorescent lamps cover an eleven storey-high building in Berlin, a creation of architects realities:united. On this facade will be displayed 55 billion unique and grammatically correct ...


Spanish version in original post--follow link...

Originally posted on Raw by Marisa Olson

UPGRADE! BOSTON: Martin Wattenberg


Jo-Anne Green:


December 1, 2005, 7:00-9:00 p.m.

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Wattenberg is a researcher at IBM whose work focuses on visual explorations of culturally significant data. His algorithmic approach is informed by his background in mathematics. Wattenberg is equally known for his scientific and applied work in the field of information visualization, and for his information-based digital artwork. In his work, the mathematical underpinnings of a computer program are not simply tools used to create art; they are the core of the artworks themselves. Technology Review recently named him "one of the world's 100 top young innovators."

Wattenberg's artwork has been exhibited at The London Institute of Contemporary Art, The Whitney Museum of American Art, Ars Electronica, The New Museum, and at galleries and festivals internationally. Commissions include The Whitney Museum of American Art, The Smithsonian National Museum of American History, The NASA Art Program, Ars Electronica, New Radio and Performing Arts, and The Walker Art Center.[More....]

Upgrade! Boston:


Originally posted on Raw by Jo-Anne Green

London Bridge: Not Falling Down


One of the longest-running themes in art, the notion of diaspora reflects the human impulses to move, reshape, adapt, and make something new. This is an idea that attracts artists, many of whom find the internet, in its ability to facilitate communication between geographically distant cultures, the best new site for creation. And that attracts curators. Cue Breda Beban, a London-based Serb interested in contemporary notions of subjectivity and emotion that occur on the margins of big stories about geography, politics, and love. Produced by Index Arts, Beban's Imagine Art After project brings together seven artists who left home and now live in London, and seven who remained in the country of their birth. Each pair of artists is currently engaged in a dialogue, hosted on the talkboards of London's Guardian Unlimited newspaper, which runs through December 11. Ideas and projects that come out of these public talks will be produced during 2006 and exhibited in London in 2007. By creating person-to-person encounters that explore issues of time, place, and race, Imagine Art After 'expands on the notion that we are all works in progress,' bridging the gap between here and there, new and old, (s)he and me. - Peggy MacKinnon


Circuit City:



Tom Vanderbilt on Pixelated Architecture

"...The screen, along with the skyscraper, has for some time been one of the particular features of Asian modernity. The screen-centric vision of Los Angeles famously depicted by Ridley Scott in Blade Runner (1982) was, the director has noted, inspired by his time in 1960s Hong Kong, a paradoxical city whose pulsating electronic skyline overlooked a harbor, as Scott has described, filled with nineteenth-century fishing junks. But those screens were merely static vehicles for the transmission of commercial messages, mechanical upgrades of an older public-advertising tradition. What is most interesting about the screens I found in Seoul was that they were not merely architectural appendages broadcasting messages but architecture itself; not simply vehicles for delivering one-way information to a passive public but an active layer of the city's matrices of networks. To stand on a street was to stand on a street of a hundred screens, and by "screens" I mean the external manifestation—the collective user-interface—of the unseen digital flow pulsing down that same street, invisible but as much a part of the city experience as the concrete of the sidewalks..." From Circuit City: Tom Vanderbilt on Pixelated Architecture, Artforum.


Originally posted on networked_performance by jo

What is code?



A conversation with Deleuze, Guattari and code

What is code? A conversation with Deleuze, Guattari and code by David M. Berry & Jo Pawlik.


The two of us wrote this article together. Since each of us was several, there was already quite a crowd. We have made use of everything that came within range, what was closest as well as farthest away. We have been aided, inspired multiplied [1].

JP: Code is described as many things: it is a cultural logic, a machinic operation or a process that is unfolding. It is becoming, today's hegemonic metaphor; inspiring quasi-semiotic investigations within cultural and artistic practice (e.g. The Matrix). No-one leaves before it has set its mark on them...

DB: Yes, it has become a narrative, a genre, a structural feature of contemporary society, an architecture for our technologically controlled societies (e.g. Lessig) and a tool of technocracy and of capitalism and law (Ellul/Winner/Feenberg). It is both metaphor and reality, it serves as a translation between different discourses and spheres, DNA code, computer code, code as law, cultural code, aristocratic code, encrypted code (Latour).

JP: Like the code to nourish you? Have to feed it something too. [More....]


Originally posted on networked_performance by jo

Viral Counter Attack


In Viral Counter Attack, colonies of "art viruses" are slowly destroying digital paintings. They "eat" the images to survive and generate offspring.

149-4995_IMG.jpg vca2.jpg

Players compete or cooperate to control artifial viral colonies. They have to move their bodies to guide the movements of the virus on the screen.

Overhead cameras capture the direction and the intensity of players' movements. The data is automatically translated in real time on the activity of the viruses.

Each gamer can control one colony (identified by a colour) and they have to survive as long as possible by guiding the colony towards areas "rich with nutritious resources". But they can also attack other colonies.

More images. Video.
By Joseph Nechvatal and Music2eye.


Originally posted on we make money not art by Regine