Posts for August 2006

Zach Lieberman and Golan Levin at NTT ICC



Golan Levin and Zachary Lieberman are taking over Japan. As part of the Kids Program exhibition at the NTT InterCommunication Center, they have a range of collaborative and individual projects on show from 2000-2006.

[from interview mp3 ]
“These collaborative projects came about through their common interest in gesture and audio visual performance. They have been working together since 2002 under the name tmema (which means little pieces). Each project is made up of many small ideas to make a larger project. The installations Remark and Hidden worlds (from 2002) we based upon the idea of visualizing the voice, if you could see the voice, what would it look like? This led on to Messa di Voce, a performance work. Their work tends to operate in both domains of installation and performance. The works are accessible to children and adults, are universal, playful and expresive. Have fun and learn things. They like to see people experience shock and wonder, not to be afraid, nothing will break. They wish they had these kinds of exhibitions when they were young. Golan was very much more interested in interactive works in the childrens exhibitions, rather than static artworks, so hopes they can give the next generation an idea about the future”.

Now this is a kids exhibition I’d cetainly like to see.

Works on show:
Audiovisual Environment Suite
The Audiovisual Environment Suite.

Gesture Machines
Gesture Machines.

Messa di Voce
Messa di Voce Installation.

The Manual Input Sessions
The Manual Input Sessions, seen for the first time as an installation.


Drawn installation
Drawn installation.

Click here for a photo of the whole space (thanks Zach).


Originally posted on Pixelsumo by chris

Social technology and the hidden dimension of time


<p>Anthony Giddens, British sociologist and one of my long-time personal guiding lights, has characterized the primary interest of sociology as an effort &#8220;to explicate how the limitations of individual 'presence' are transcended by the 'stretching of social relations across time and space.' It' always seemed to me that the growing adoption of social technologies--like this very one here--into our communication practices (activities, coordination, exchange, commmerce, learning, etc.) serves as a direct reflection of this 'stretching of social relations across time and space.' I've felt that these technologies line a frontier defined by concerns that touch our society and culture deeply. And that our very proximity to one another is shaped and informed by our use of these technologies to conduct our lives in non face-to-face communications.</p>

We often speak of proximity as a matter of space, of closeness, nearness, even touch. We've seen that distance collapse, foreshortened by the spin of a mouse on the point of a click. Who among us is not a click away? But interestingly, I think, the dimension that's transformed most by social media is time, not space. It's time in the sense that the duration, episode, and rhythm of our interactions with others is radically lightened by social technologies, faciliated by a medium that has no 'there' there, presented but not with a deep presence. It's a strange thing, this discontinuous time of media. Things happen, but are not tied together, perhaps because we have such difficulty negotiating our availability and thus presence to others. Interruptions occur so frequently they become a continuity in and of themselves. We'll have 16 tracks of conversation going but at different time signatures, and our presence to and in all of them will feel more fragmented than whole.

I ...


Originally posted on unmediated by Rhizome

Turbulence Commission:



Machine Fragments

Machine Fragments by Onoma Ekeh :: Needs Flash player 8+ and speakers; optimized for Internet Explorer and Safari :: Perhaps the question, "Can Machines Think"? should be re-articulated as "Is the Machine different from you or I"? Why is there a perceptive gap between our tools and ourselves? Do they also not constitute consciousness and by extension the body?

The cultural schisms that generate this differentiation between "man" and "machine" are also responsible for spawning voids and displacements --and the ghosts that inhabit them. It is these ghosts who constitute "Machine Fragments." Machine Fragments are essentially sound fictions spun from the perspective of sentient machines, testing humans for machine intelligence. Not so much to expose the machinic dimension in humans (we suspected as much), but to arouse the sense that "Machine" is also a kind of gender.

"Machine Fragments" is a 2005 commission of New Radio and Performing Arts, Inc., (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from The Greenwall Foundation.


Born and raised on most sides of the Atlantic, Onoma Ekeh started out as a painter, gravitated towards design and fell in love with cinema. The collusion effect is a lifelong fascination with hybrid forms of media and their perpetuation in contemporary culture. Ekeh has written for film, and literary and technological journals both in Europe and the United States; produced works for theater; and created "radio fictions." She is a frequent collaborator in a number of cross-disciplinary projects. She lives in New York City and has been the recipient of several fellowships and grant awards including the Jerome Foundation/Media Alliance (2000); Harvestworks Digital Media Center Artist-In-Residence (2002). Ekeh is currently a Fellow at the Kunstlerhaus Buchsenhausen in Austria.


Originally posted on networked_performance by jo

Cell Phone Disco


Cell Phone Disco is an experimental installation, made of flashing cells, that allows gallery visitors to experience the invisible body of the mobile phone.


The cells consist of one or more LEDs, battery and a sensor that detects electromagnetic radiation transmitted by mobile phones. When the sensor detects EM waves it sets off the LEDs to flash for a couple of seconds.


Cell Phone Disco has two parts:

Mobile Aura: Flashing cells with sensors of higher sensitivity detect EM radiation of active mobile phone in a range of approximately a meter. A sort of aura appears then around the phone, revealing a part of its invisible body.

While the user moves around talking on his/her phone, this aura follows the conversation as a light shadow through the space.

Mobile Drawing: Less sensitive cells create a canvas for an inkless marker. The LEDs get activated by an extreme proximity of the EM source. Moving the phone close to the cells leaves a trace of light, an electromagnetic drawing.


The installation premiered at the Lamball Bakra exhibition at the Showroom MAMA in Rotterdam.

By Ursula Lavrencic and Auke Touwslager.

Via Informationlab.


Originally posted on we make money not art by Rhizome

ISEA2006 Papers



Intelligent Agent Special Issue

"In collaboration with the ISEA2006 Festival and Symposium taking place from August7-13 in San Jose, intelligent agent is featuring the papers presented at the ISEA symposium in this special issue, which is published both online and can be ordered print-on-demand at the intelligent agent website. As the symposium is breaking with some of the conventions of a conference ��� encouraging a more dilaogical format where papers are not formally presented but pre-published online and discussed in the symposium sessions ��� this special issue also slightly deviates from the traditional publication format of conference proceedings. Rather than serving only as a form of "documentation" after the festival, this issue also functions as an "on site" companion to the symposium, making the papers available to symposium visitors for easy reference. It is part of the nature of this process that the essays included here are in various stages of "development": some of them have been previously published and discussed on mailing lists and then revised; others are in a "beta" stage, proposing ideas for further discussion within the symposium..." -- Patrick Lichty and Christiane Paul, Intelligent Agent.

Sources: intelligent agent Vol. 6 No. 2 and ISEA 2006


Originally posted on networked_performance by jo

Interferenze 2006, Naturalis Electronica



INTERFERENZE 2006, Naturalis Electronica

With its 2006 edition, INTERFERENZE,
international festival of sounds, new visual arts
and media, is seated in the mountains of the
partenio / Valle Caudina, which it will fill live
performances, installations, projections,
seminars, free camping, artists and public.
Although INTERFERENZE is tied to the land,
electronic and multimedia arts are its driving
force: performances, installations, events,
workshops and conferences complete the event.
INTERFERENZE confirms its traditional division
into three thematic macroareas: 1) SOUNDS, with
laptop culture artists; 2) NEW MEDIA, video,
software art and new technologies; 3) TALKS,
WORKSHOPS, CONFERENCES. A new section will form
focused on the interconnection between electronic
arts and the rural.


Originally posted on Raw by Neural

Email De-Constructions


Ethan Ham's net-based Email Erosion project materializes the potentially destructive (though perhaps also beautiful) force of email. When users send an message to the program, it generates a sculpture made out of biodegradable, starch-based foam. The content of the email determines the dimensions and shape of the sculpture, and the entire process can be viewed online, via webcam. Ham's site also archives previously-sent emails, alongside images of the sculptures generated by them. Partly a poetic statement about telepresence from afar and partly a humorous opportunity to turn spam into art, Email Erosion is a collaborative and timely illustration of the brute force of communication. - Marisa Olson


Genomic Art as Discourse?



Originally posted on NewGenics by Rhizome

visual traceroute improvisation


a visual & sonic translation of a traceroute query, as a "journey into the inaccessible & prohibited universe of the machines." an IP address is randomly picked & a traceroute is carried out towards it. this traceroute is then analyzed & retranscribed in the form of sound patterns & 3D architecture to convey a musical & graphic immersive improvisation.
see also datapainting.


Originally posted on information aesthetics by infosthetics

Robotic perception kit


Robotic Perception, by Paul Granjon, comprises special goggles, helmets, plus a small robot that allow users to experience what it's like to perceive the universe as a robot would.


Final kit: the helmets are fitted with one ultra-sound sensor and an infra-red beacon, which are connected to LEDs in the goggles which are otherwise blind. The ultra-sound sensor provides information about the presence of obstacles ahead, while the IR beacon indicates if another robotic perception unit is present in the close environment.

When the sensors detect a robot, the corresponding diode lights up, and the participant can take the appropriate action, emulating the program of a robot.

The small autonomous mobile robot, fitted with the same sensors as the helmets, can also operate in the space and be detected by the participants.

The artist's first attempt to re-create robotic perception by modifying a Female sexed robot is documented in the movie of the performance The heart and the chip.

More projects on modified perception (any suggestion is most welcome!):


- Inter Dis-communication Machine allows two participants to exchange their visual perspectives, which forces them to see things the other person's way.

- ROBORIADA, a video game-like performance where two Robo-Sapienses (human beings that pretend to be robots) fight for their right to live. They respond only to limited electronic sensors, have a camera instead of eyes, hear only the signal coming from the headphones and are manipulated by a human user.

- Carsten Höller's Upside Down Glasses (1993) that invert the visual field of view, and create various types of optical transformation such as inversion, displacement, reversal, magnification and scrambling occur that will foster a severely different notion of perceiving the world around the wearer (via).


Höller references in this work an experiment carried out at the ...


Originally posted on we make money not art by Rhizome