Posts for January 2006


Keeping on my trend of posting about cool sites by bright young women, here's There is a pile of great projects in here, including some really nice explorations into tangible computing.

Of particular interest is the techniue used in Tadpole and DrawDisk, in which the computer's printer cable is rigged to control first a set of LED lights, then a small robot used to draw physical compositions. Great idea.


Some of her work is pretty fun/funny! I love the MTV station ID proposals...

Originally posted on Processing Blogs by Rhizome




Re-dressing Religion

Across societies and countries, dress has always played a pivotal role in cultural and political expression. Attire, especially when it comes to women's attire, figures in many parts of the world as a means of representing and expressing oneself (undressing religion, Linda Arthur).

Arabiia--by Ayah Bdeir--is a convertible outfit that looks at two opposing images of the Arab woman: the sexualized belly dancer and the veiled opressed woman. The costume is equipped with two servo motors and a switch. It enables the woman to flip modes between two extreme stereotypical representations typically attributed to arab women.

Ayah Bdeir is a second year masters student in the MIT Media Lab. She is a member of the Computing Culture Group, which creates unique technologies for cultural, political and media applications. She recently graduated from the American University of Beirut (AUB) with a Bachelor of Engineering in Computer and Communications Engineering and a minor in sociology.

Ayah's research in the Computing Culture Group looks at the role technologys plays in cross cultural communication; being both a vehicle for the representation of identities and a tool to create engaging dialogue amongst cultures.


Originally posted on networked_performance by jo

Singing bridges


“Singing bridges


Originally posted on Interactive Architecture dot Org by Rhizome



Zev Robinson:

just to be clear, no I'm not downplaying a programmers part in creating
anything, and, also I'm not outsourcing the programming. Adrian Marshall and
I collaborate on our projects with a lot of testing things out, back and
forth on ideas, how it is working, etc.

I know people who outsource their paintings, let assistants make all sorts
of decisions including what colors to use, and then claim it as their own,
and sell it for a lot of money. Movies and medival cathedrals are huge
collaborative efforts, with various people contributing their various areas
of expertise. Some photographers insist on doing their own
developing/darkroom work, others are happy to let others do it for them.

It's a question of choices and priorities. So how you, Dirk, Pall, or anyone
else, are, what you do, or create, is up to you, but doesn't mean that it
should apply to anyone else. I may find something interesting or not, I
might like something or not, but it's the variety of approaches that is

I've also had repeated experiences with works of art over the years, mainly
paintings that I go back to look at, but also music, literature, films. Each
time my perception of them is different, so in that sense there is no

I'm also not sure if true randomness exists or not, or if it's all
fate/destiny, or a combination of the two. But much, much better pseudo
randomness than pseudo certainty.



Originally posted on Raw by Zev Robinson

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




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- 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



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

Starbucks Center of Garvity - Dec 2005


Spurred on by a discussion on, 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

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

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 Raw by Martin Rieser