Posts for July 2006

There Has Been a Change of Plan

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ryan griffis:

Begin forwarded message:

> Raqs Media Collective : 'There Has Been a Change of Plan'
> (Selected Works 2002-2006)
> Nature Morte Gallery, A 1 Neeti Bagh, New Delhi
> August 5 - 26, 2006
>
> - - - - - - - - - - - - - - - - - - - - - -
>
> Sometimes, adjustments have to be made. Schedules need calibration.
> There are contingencies, questions, obstinate demands, weak excuses,
> strong desires. You return to the city you never left. You pause,

> take
> stock. Sit still and let a conversation begin. Maybe?
>
> Around you, aeroplanes sit on wooden platforms in a wilderness like
> widows on a funeral pyre. Clocks measure fatigue, anxiety and modest
> epiphanies across latitudes. A door to nowhere stands obstinately
> against the sky. All your cities are a blur.
>
> "Do you like looking at maps?"
>
> Meanwhile, measures are taken, shoes lost and found, ghost stories
> gather, the city whispers conspiracies to itself, the situation is
> tense but under control. Someone offers you a postcard.
>
> Now: Let's see what happens.
>
> -- - - - - - - - - - - - - - - - - - - - - -
>
> Raqs Media Collective is pleased to announce its first solo

> exhibition
> in Delhi - 'There Has Been A Change of Plan' at Nature Morte Gallery.
> The exhibition features selected works (2002 - 2006) in the form of
> cross media installations with networked computers, objects,

> postcards,
> video, sound, prints and projections.
>
> Works exhibited include: 'Lost New Shoes', selections from 'A Measure
> of Anacoustic Reason', 'Location (n)', '28.28 N / 77.15 E :: 2001/02
> (Co-Ordinates of Everyday Life, Delhi 2001-2002)', 'Erosion by
> Whispers', 'Preface to a Ghost Story' and 'There Has Been a Change of
> Plan'. (See Details in PDF attatchment with this mail)
>
> - - - - - - - - - - - - - - - - - - - - - - -
>
> About Raqs Media Collective
> www.raqsmediacollective.net
>
> (Excerpt from the Wikipedia Entry on Raqs Media Collective -
> www.wikipedia.org/wiki/Raqs_Media_Collective)
>
> Raqs Media Collective was formed in 1992 by independent media
> practitioners Jeebesh Bagchi, Monica Narula and Shuddhabrata

> Sengupta.
> Based in Delhi, their work engages with urban spaces ...

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Originally posted on Rhizome.org Raw by ryan griffis


new media arts: dislocating its privilege

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Videotage's Fuse Residency Program presents

 <p style="font-family: arial;"><br /></p>     <p style="font-family: arial;"><span style="font-size:130%;"><span style="font-weight: bold;"><span style="font-weight: bold;">n</span>ew media arts: dislocating its  privilege</span></span><br />     <p style="font-family: arial;"><br />    <p style="font-family: arial;">a presentation about new  media arts and social change in Sydney<br />   <p style="font-family: arial;"><br /></p>     <p style="font-family: arial;"><span style="font-weight: bold;">When</span>: Tuesday 8 August 2006, 7-8.30pm<br />   <p style="font-family: arial;"><span style="font-weight: bold;">Where</span>: Hong Kong Arts Development  Council<br />   <p style="font-family: arial;">2/F, 181 Queen's Road Central<br /></p>     <p style="font-family: arial;">Opposite Sheung Wan MTR<br />    Sydney-based arts manager Lena </p>   <p style="font-family: arial;">Nahlous will share her work as the Director of Sydney's Information and <p style="font-family: arial;">Cultural Exchange (<a href="http://www.ice.org.au/">http://www.ice.org.au</a>), and will focus on the  role  <p style="font-family: arial;">of their <span style="font-weight: bold;">SWITCH Multimedia and Digital Arts  Access Centre in transforming culture and creating opportunities for  artists</span> in Western Sydney.<br />     <p style="font-family: arial;"><br />    <p style="font-family: arial;">SWITCH is a space where artists and    <p style="font-family: arial;">communities can make digital sound and music, web and graphic design,   <p style="font-family: arial;">and screen-based arts. SWITCH's results have been far-reaching: the <p style="font-family: arial;">Suburban Grooves urban music program (which has distributed the music  <p style="font-family: arial;">of over 100 new music artists); the establishment of several radio and <p style="font-family: arial;">TV production houses; the development of a documentary film with <p style="font-family: arial;">African war journalists in exile; youth filmmaking initiatives;   <p ...

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Originally posted on New Media & Interactivity by Rhizome


The dot.com burst and the net art fizzle

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There’s been discussion on Rhizome about whether or not Rhizome is covering net art well enough. This discussion led into a debate on the robustness of net art. Amongst this discussion, there has been several assertions made that the dot.com bust poured cold water on the movement but I wanted to look at it a little more closely.

As some of you know, M.River and I were very much involved with the net art movement from 97 onward. I was also working within the dot.com bubble at the time and was very attuned to its movements.

I remember knowing there was trouble with the bubble in mid-‘00. Then, by late 00/early 01, it was obvious to everyone that the burst had happened. (See this graph of the nasdaq.)

I was out of work in early/mid 00 and it was super-easy to get a dot.com gig at the time due to the fact that the forward momentum of companies isn’t as easily stopped as the rise of their stock price.

Remembering the crash, I was thinking at the time that it would throw cold water on the net art movement and thinking that it didn’t seem to be happening.

Probably due to the fact that museums and art institutions are even slower-moving than businesses, it took a good year or two after the dot.com burst for the net art fad to fizzle in the art institutions. Not to say that the dot.com collapse didn’t help cause it, but it took a while for it to be felt.

m.river adds.

I’ve always thought that the linking of the dot.com boom/bust and the art world’s early interest and then abandonment of net art is a ...

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Originally posted on MTAA Reference Resource by T.Whid


Sound In The City

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The Tactical Sound Garden is “an open source software platform for cultivating public “sound gardens” within contemporary cities. It draws on the culture of urban community gardening to posit a participatory environment where new spatial practices for social interaction within technologically mediated environments can be explored and evaluated. Addressing the impact of mobile audio devices like the iPod, the project examines gradations of privacy and publicity within contemporary public space.”

Pretty cool way to interject a personal touch onto an often “impersonal” urban landscape. The project’s “Toolkit enables anyone living within dense 802.11 wireless (WiFi) “hot zones” to install a “sound garden” for public use. Using a WiFi enabled mobile device (PDA, laptop, mobile phone), participants “plant” sounds within a positional audio environment. These plantings are mapped onto the coordinates of a physical location by a 3D audio engine common to gaming environments - overlaying a publicly constructed soundscape onto a specific urban space. Wearing headphones connected to a WiFi enabled device, participants drift though virtual sound gardens as they move throughout the city.” Reminds me a bit of a higher-tech version of Christina Kubish’s “Sound Meadow” project shown at Ars Electronica in 1987.

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Originally posted on coin-operated by jonah


Art: Jillian Mcdonald, Performance Artist, Forsakes Billy Bob Thornton for Zombies

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"Horror Make-Up" is the latest chapter in the oeuvre of a Canadian-born artist who has developed something of an underground reputation for work inspired by movie mania.

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Originally posted on NYT > Arts by Rhizome


A New Play-List

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Video games have recently been the subject of a number of new media art works and exhibitions, but the element of 'play' is often overlooked in discourses about games. In the UK, the Game/Play exhibition strives to add to ongoing art-world conversations about 'the rhetorical constructs game and play.' Via the magic of network technology, the show is now simultaneously on view at both Derby's Q Arts Gallery and London's HTTP Gallery, through the first week of September. It includes sixteen works, in total, including three commissioned works by Mary Flanagan, Low Brow Trash, and Simon Poulter. Among these sixteen are internet-based work, installations, independent games, and other interactive works and live performances. The show's blog links to the online work and a downloadable PDF of a fully illustrated catalogue featuring twenty commissioned essays from 'respected writers in the field of critically positioned independent gaming and playculture.' The blog also provides a platform for conversation about games and play. It's refreshing to see this show bringing so many new artists' voices to game art discussions, and now you can add your own. - Irene Wu

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