Posts for May 2006

A Series of Practical Performances in the Wilderness (2)


digging for chicory
digging for chicory (2005, 3.6MB, 1:15 min.)

doable (2005, 8.1MB, 3:31 min.)

home economics
home economics (2005, 6.8MB, 2:06 min.)

Chapter 3,4,5 from "A Series of Practical Performances In The Wilderness"
by Cary Peppermint and Christine Nadir.
Here philosophical bickering, an ever more luxuriant
formalism & a mad -no other word - monologue
on chainsaws & Amsterdam make for a rich dish
& form this week's back door to the sublime.
Looks easy - bet it isn't.


Originally posted on DVblog by editorial





Roger Malina, Michael Naimark, Gerfried Stocker, Amy Alexander, Lab_au y Christa Sommerer y Laurent Mignonneau--This month we have published a new series of video-interviews in Artnodes with various international experts revising the last digital art and electronic art period, analysing its development until now, where is it coming from and where is it focusing on.

This wide cross section of experts gives us the opportunity for a different points of view analyze. We count on the intervention of Roger Malina, Director of Leonardo, telling us about international networks in Internet, and also about the creation and development of Leonardo as part of them; Gerfried Stocker, Director of Ars Electronica and Digital Artist, who points up the importance on offering a digital art history revision in order to analyze its development; Michael Naimark, Digital Artist with more than 25 years of art experience, he has been a witness to very crucial moments in the development of new media; Christa Sommerer y Laurent Mignonneau, Digital Artists, with them we looked through the relation between art, new technologies and nature; Manuel Abendroth y Els Vermang, members of Lab_au, Laboratory of architecture and urbanism, with special interest in language and new terminologies in the new media; and Amy Alexander, one of the pioneer artist of net art, is telling us about the context within she made her first art works in internet and its development until now.


Originally posted on networked_performance by jo

Cybersonica 06 Opens!


My reason for irregular postings on Pixelsumo has been due to curating and coordinating the Cybersonica 06 Sonic Art exhibition. After a huge amount of work by the team, I can now happily say that the exhibition is now open and we have 12 truly great pieces installed in the gallery space. I highly recommend you get to London to check it out. Full documentation of all the work will be posted online, but I don't want to ruin any surprises for now.

We have commissioned 5 new works, plus showing many existing works.
The works have been selected for their exciting approaches to creative interactivity. They move beyond the "screen, keyboard, mouse scenario" and respond to physical input, proximity, sound, kinetics, elapsed time and the surrounding environment.

Dates: Monday 8th - Saturday 20th May
Location: Phonica Records / Vinyl Factory, Soho London
map & opening hours

Preview video 1 - Preview video 2
Behind the scenes photos
List of artist & works


Death Before Disko 3.1



Originally posted on Pixelsumo by chris



Marisa Olson:

The Yes Men....

---------- Forwarded message ---------- From: Halliburton Emergency Products Development Unit
Date: May 9, 2006 9:50 PM


: mailto:EPDU[at]halliburtoncontracts[dot]com Photos:

HALLIBURTON SOLVES GLOBAL WARMING SurvivaBalls save managers from abrupt climate change

An advanced new technology will keep corporate managers safe even when climate change makes life as we know it impossible.

"The SurvivaBall is designed to protect the corporate manager no matter what Mother Nature throws his or her way," said Fred Wolf, a Halliburton representative who spoke today at the Catastrophic Loss conference held at the Ritz-Carlton hotel in Amelia Island, Florida. "This technology is the only rational response to abrupt climate change," he said to an attentive and appreciative audience.

Most scientists believe global warming is certain to cause an accelerating onslaught of hurricanes, floods, droughts, tornadoes, etc. and that a world-destroying disaster is increasingly possible. For example, Arctic melt has slowed the Gulf Stream by 30% in just the last decade; if the Gulf Stream stops, Europe will suddenly become just as cold as Alaska. Global heat and flooding events are also increasingly possible.

In order to head off such catastrophic scenarios, scientists agree we must reduce our carbon emissions by 70% within the next few years. Doing that would seriously undermine corporate profits, however, and so a more forward-thinking solution is needed.

At today's conference, Wolf and a colleague demonstrated three SurvivaBall mockups, and described how the units will sustainably protect managers from natural or cultural disturbances of any intensity or duration. The devices - looking like huge inflatable orbs - will include sophisticated communications systems, nutrient gathering capacities, onboard medical facilities, and a daunting defense infrastructure to ensure that the corporate mission will ...


Originally posted on Raw by Marisa Olson

IMAGE WAR: Contesting Images of Political Conflict



Quang_duc_sm Grimon1 Dolores10to10_14
Contesting Images of Political Conflict

Examining recent artistic practices that explore media representations of war and conflict.

May 19  - June 25, 2006

Friday, May 19, 6-8pm

Organized by the 2005-06 fellows of the Whitney Independent Study Program:
Benjamin Godsill
, Stamatina Gregory, Katy Rogers, Susanne Sæther

The Art Gallery of the Graduate Center

The City University of New York
365 Fifth Ave @ 34th Street
gallery hours: Wed-Sun 12-6pm

Download Press Release

Participating artists:
Willie Doherty, Claire Fontaine, Coco Fusco, Rainer Ganahl, Joy Garnett, Johan Grimonprez, Jon Haddock, Amar Kanwar, An-My Le, Din Q. Lê, Radical Software Group (RSG), Tamiko Thiel and Zara Houshmand

IMAGE WAR brings together artistic responses to the mediation of images of war and conflict in our current digitized media culture. It focuses on strategies of appropriation of mass-disseminated images of conflict, many of which have received an iconic status due to the mass media's extreme packaging and filtration of images since the first Gulf War. The works in Image War remix, transform, or mimic images from the Vietnam War, the Iraq War, the U.S. internment of Japanese-Americans, hijackings, popular uprisings, recent American military interventions, and other violent political events.

Saturdays 2 pm


Alex Galloway and Joy Garnett

The artists will discuss strategies of media appropriation related to their own practices.

Tuesday, May 23 7-9 pm
Martin E. Segal Theatre

Coco Fusco's Operation Atropos

The artist screens her new video Operation Atropos and leads a question-and-answer session. This video, making its New York debut, documents Fusco and several of her students participating in the activities of a field course in U.S. military interrogation techniques, which involves an immersive simulation of the POW experience.

Tuesday, May 30 7-9 pm
Martin E. Segal Theatre


The ...


Originally posted on NEWSgrist by joy garnett

Unreadable Text Art


A year ago, we discussed the idea of QR Code and unreadable digital text - and this spring, we began work on a QR-based project that uses the unreadability to retell a classic cryptographic mystery. Here is another aesthetic experiment in unreadable encoding - a poem often accused of illegibility, rendered in columns of custom binary.

">Sai Sriskandarajah's "The Waste Land"
encodes T. S. Eliot's famous poem as a binary wall-hanging, using small and large squares to indicate ones and zeros. The image was created using Processing, and is featured in NYU's Interactive Telecommunications Program (ITP) Spring Show 2006.

One of the things that interests me most about this work is how the claims about visual art function in a literary context. Is this image artful in a way that a raw QR code or Shotcode isn't? The indications are that, rather than a unique image of conversion, "The Waste Land" encompasses a whole conceptual set of possible representations:

The finished product has no set dimensions; the only requirement is that it should be printed and hung on a wall. It may also be presented in a long, narrow format, like a tickertape, which may be displayed horizontally or vertically.

Rather than scale or aspect, it is the individual units of code and their rendering that is important - this is a form of writing. Particularly interesting when considering such artistrty is the decision to choose one's own coding system rather than using some standard - Sai's code, which she terms "arbitrary," is reminiscent of Kac's unique approach to encoding the alphabet in DNA - in particular, in the similar decision to remove spaces and punctuation marks rather than encode them.

Sriskandarajah arrives at this piece at the end of a series of experiments with binary ...


Originally posted on WRT: Writer Response Theory by Jeremy Douglass



Last night the artist team JODI (Joan Heemskerk and Dirk Paesmans) presented their 2-channel video Max Payne Cheats Only at Electronic Arts Intermix in Chelsea. One of the earlier and still best "net artists," JODI favors anarchy, entropy, and irony over the world-bridging utopianism of much net practice; their site famously, creatively dismantles itself (and your browser) as you use it. Max Payne Cheats Only wreaks similar havoc with the realistic "film noir" videogame Max Payne, concerning an Everyman who enters the underworld seeking Charles Bronson-style revenge after a criminal gang kills his family. The JODI version consists entirely of "cheats"--shortcuts and fragments of imagery buried in the code that are widely disseminated via (company sponsored) fan websites. Physics and perspective-flouting manipulations such as: Max walking through a wall when he gets cornered by the bad guys; Max becoming magically bulletproof--but also fun stuff like making the gangster's moll run around naked.

JODI reassembles the cheats' fragments and freaky camera angles with the manic verve of a sadistic child playing with dolls in a Dr. Caligari-like dollhouse, opting for maximum disorientation and grotesqueness. Thus, Max pounds the floor endlessly with a lead pipe, rapidly changing characters run headfirst into the same stretch of wall, the nude moll pirouettes like a ballerina in "bullet time," faces are stripped of skin and muscle leaving gaping, floating dental work. The vids meld the psychic fragmentation of Hannah Hoch's collages, the pointless headbanger repetitions of Paul McCarthy videos, and the claustrophobic worlds-within-worlds of Cronenberg's Videodrome or ExistenZ.

This work appeared a few months ago in PaceWildenstein Gallery's "Breaking and Entering: The Art of the Videogame," which exhibited it incorrectly, we learned. It's meant to be viewed flat on a wall with the audience seated; instead ...


Originally posted on Tom Moody by tom moody

New Media at the ICA



Body, Space and Cinema

In London's ICA, Body, Space and Cinema, an exhibition featuring selected works by artist Scott Snibbe will open this weekend.

- Theatre and Bar -
Scott Snibbe will be showing three interactive installations, including large-scale body-centric physical installations, Outward Mosaic, premiering at the ICA and Visceral Cinema: Chien, to the interactive sculpture, Blow Up, first shown at Ars Electronica in 2005.
Known around the world for his beautiful, simple and yet brilliant pieces that engage with visitors of all ages. For inspiration or sheer enjoyment this is an exhibition that's not to be missed.

Sat 13 May - Sun 28 May 2006.
12noon - 7.30pm daily

- Digital Studio -
Combining intelligent computer programming with a playful ideas and a philosophical approach to the world we live in his work is simple and yet very engaging. Scott's work includes, emergent behavioural patterns of ants in Myrmegraph, a means of drawing with stars in Gavilux and the simple physical but chaotic system of a pendulum swing in Tripolar. This sample from the breadth of his work, gives an insight into his practice and demonstrates his profound influence on other artists working in this medium.

Fri 12 May - Wed 31 May 2006.
12noon - 7.30pm

Artist's Talk on Saturday 13th May - 3pm
As part of his first UK exhibition, Scott will present recent works that explore interaction between cinematic projections and viewers' bodies along with his most recent work, Blow Up, which amplifies human breath as a large field of wind. He will discuss the philosophical divide between language and visceral perception that motivates his creation of interactive media art.
There will be time for questions after the talk.


Originally posted on networked_performance by luis

waste land binary painting



an aesthetic data painting that encodes text as binary signs & then represents the resulting code visually. each of the thousands of little squares represents a 1 or a 0 (smaller squares are 0s, bigger squares are 1s) & every 5 squares represents a character of the alphabet. accordingly, one of the masterpieces of Western literature is both reduced & expanded, its meaning shifted as it moves from the realm of symbolic interpretation into the realm of visual absorption.

see also morse code.


Originally posted on information aesthetics by infosthetics

ascii google map


fully interactive implementation of google maps rendered as black & white ascii signs.


Originally posted on information aesthetics by infosthetics