Posts for November 2006

Survival Research Laboratories -- rare show -- August 11, 2006


Survival Research Laboratories -- rare show -- August 11, 2006
Friend often ask me to let them know of good reasons to come and visit San Francisco. Well, here's one -- an upcoming show of Survival Research Laboratories. Just short of ten years ago it was enough to get me to fly out here, so I figure I'll pass on the favor:

Survival Research Labs
Mark Pauline, Artistic Director

Day: Friday, August 11, 2006
Time: 10:30 p.m.
Location: Behind South Hall
Ticket Price: $25
Special Notes: Very Big, Very Loud, Very Exciting

Some things are purely mythic like Survival Research Labs, which springs from the shell of abandoned buildings, monster robotic history, and fire. An interdisciplinary mash-up like no other, SRL, brings a newly conceived performance to ZeroOne San Jose full of its legendary machines, flame-throwers, and bombastic sound. Humans are only present as audience or operators; in this show its all about the machines. As described by founder Mark Pauline, an SRL performance is comprised of ritualistic interactions between machines, robots, and special effects devices." Whatever else you call it, (and the title wont be announced until just before the show), we call it big fun, exciting, and something you wont want to miss. This one is definitely for more than the brainiac crowd its monster machine, meets hovercraft, meets huge sculptural creatures, meets fire. See you there.



This one coincides with ISEA06, in San Jose... Follow the link! ~mo

Originally posted on Residency Evidence by Rhizome

Reverberant | Sound Art | Info



Squeezebox incorporates spatial sound, computer graphics and kinetic sculpture. Participants manipulate the sculpture to produce real-time changes to the spatial location and timbre of the sound, as well as to manipulate digitised images. The sound and images are presented as an integrated plastic object, a form which is squeezed and moulded by participants. The artwork consists of a frame supporting four sculpted pistons on pneumatic shafts. An interactive image is displayed on a monitor beneath a one-way mirror at the centre of the sculpture. Four loudspeakers are situated at the outer four corners.The cast hands of Squeezebox invite participation. Participants grasp and press down the sculpted pieces, working against a pneumatic back-pressure to elicit both sound and image. The interaction reveals a form which has visual, aural as well as physical properties. As participants press down on the hands a sound mass is shifted from one point of the sculpture to another by pressing down on alternate pistons. Music is produced algorithmically and is derived from a set of rules which respond to the spatial location of the sound mass. The system of rules however is never static. One spatial strategy gives way to another resulting in an evolution of sound, requiring a constant readjustment of focus in the listener.

Originally posted by fvaz from, ReBlogged by Limor Fried on Nov 19, 2006 at 11:09 AM


Originally posted on Eyebeam reBlog by fvaz

most wanted man


i wrote a program to average out the photos of the fbi’s ten most wanted. this is what showed up:

lesson learned: beware of helmet hair.


Originally posted on supercentral by cabbie

Repeating Cinema's History


The popularity of online video-sharing sites has led to the ad hoc curation of archives and thematic reblogs of all sort. Recently, curator Joao Ribas started Expanded Cinema, a blog that aggregates web-posted archival videos from the history of avant-garde cinema, including 'experimental film, early video, and sound-based, durational work.' Choice finds include pieces by Martin Arnold, Walerian Borowczyk, Charles and Ray Eames, Harun Farocki, Peter Kubelka, Toshio Matsumoto, and others. Ribas's comments on the videos often include external links to critical essays or other historical details that help frame the work. Quite often, there is a sense of desire to place the work within a timeline of influences, as in the case of 'Le Vol d'Icare' (1974), Georges Schwizgebel's 'pioneering animation,' that 'looks more at home today than it ever did in the early 1970s.' In many of the works, there seems to be a tension between the use of film or video as a means of documentation, and as an art practice of its own. The most interesting piece blur the boundaries, as is the case with the Eameses' 'SX-70' (1972), which also meditates on the formal properties of film and video. Once again, focused internet users are taking art history into their own hands, making 'playlists' that elevate works from the status of hiddenness or obscurity to central in our imaginations--which to say on our desktop. - James Petrie


New Net DOT Art: Digital Pogs


I have a new Net DOT Art project called Digital Pogs.

Digital Pogs are like real pogs but digital. Check out my Digital Pog Page to see the Digital Pogs I've got in my collection and learn how to make your own. Once you've made 'em, you can for my collection, or start your own Digital Pog collection.

Thanks to Matt Smear, Karthik Pandian, Emily Spivack, John Michael Boling, Jeff Sisson, Charles Broskoski, E*Rock, Tom Moody, Guthrie Lonergan, Sarafina Engfer and Paper Rad for getting in on the ground floor.


Originally posted on The Copyright Convention by Rhizome

visual new media art survey


an online collection of documented & categorized new media artworks as a result of an ongoing survey. a visual taxonomy was developed that forms the basis of the survey, while 20 different icons (.e.g virtual reality/physical objects, audio/projected content, group/personal experience, projection/screen, etc.) define the characteristics of a new media art work in order to evaluate the audience experience & formal qualities of the piece.



Originally posted on information aesthetics by Rhizome

Assistant Professor | DXARTS | University of Washington | Mechatronics, Robotics, and Telematics


shawn brixey:

DIGITAL ARTS and EXPERIMENTAL MEDIA (DXARTS) University of Washington - Center for Digital Arts and Experimental Media

Multidisciplinary Arts Faculty Position in Mechatronics, Robotics, and Telematic art forms at the Center for Digital Arts and Experimental Media at the University of Washington in Seattle. Established in 2001, DXARTS is a pioneering Arts unit on campus with exciting undergraduate and doctoral degree programs. DXARTS brings together current and new faculty from Art, Music, Computer Science, Electrical Engineering, Physics, Dance and Design in a pioneering research environment dedicated to the invention and exploration of new forms of digital and experimental art.

The position is a full-time, tenure-track position to begin in September 2007, at the rank of Assistant Professor. Applicants must be practicing artists with an Minimum of a Masters Degree in one or more allied arts and sciences fields, should demonstrate the ability to teach at the university level, and must have the potential to supervise doctoral students.

We seek an individual who is an accomplished artist who makes innovative cross-disciplinary use of digital technologies in their works, as well as someone with a strong background in advanced computing based research areas such as mechatronics, robotics, sensing and control systems, systems based art forms, AI, programming for interactive and distributed environments, physical computing, rapid prototyping, and CNC machining, etc. Applicants should also demonstrate an ability to assimilate art history, theory and practice through their research and teaching. Previous experience in teaching and resourcing such research areas is highly desirable. The position includes responsibilities for research and teaching undergraduate and graduate interdisciplinary arts courses in one or more of these areas.

Application must include: CV, artist statement, statement on pedagogy, and a cohesive portfolio of professional creative work. Support materials must include three references with phone numbers, mail and e-mail address ...


Originally posted on Raw by shawn brixey

Subtle Technologies 2007 Call for Submissions




Subtle Technologies 2007

in situ
art • body • medicine

May 24th – May 27th 2007
University of Toronto, Toronto Canada

Submission Deadline January 3, 2007.

Subtle Technologies is a four-day multidisciplinary Festival exploring complex and subtle relationships between art and science. The annual international event combines symposia, exhibitions, workshops and performances that juxtapose cutting-edge artistic projects and
scientific exploration.

For the 10th Annual Festival, Subtle Technologies invites practitioners of arts, sciences and medicines, and those who study their context, historians, ethicists, and other critical thinkers to contemplate how these disciplines can work together and reshape perspectives on the body.

As scientific and technological breakthroughs prominently occupy our culture, we ask where the boundaries are. We are interested in investigating how we relate bodies in situ: as parts, as a whole, as systems; how we identify, map, modify, protect, violate, and heal.

We invite a wide interpretation of bodies including the molecular, physical, cultural, economic, legal, political, energetic, electrical and spiritual.

A range of approaches are welcome, including interdisciplinary work, specialized presentation proposals that focus on a single topic in depth, and general discussions that draw upon multiple topics. We welcome a diversity of presentation formats, including those practitioners who may not emphasize the use of science and technology.

Proposals for the following will be considered: workshops, performances, poster sessions, and symposium presentations.

How to Apply:
Details are available on the online submissions form:

Examples of possible topics include:

Racial and Personalized Medicine
Pharmaceuticalized Body
Organ Trafficking
Inter- Species Communications
History of Medicine
Reproductive Technologies
Addictions and Obsessions
Sexual / Gendered Body
Body Machine Interfaces and Sensors
Violated Body
Embryoid Bodies and Stem Cells
Infectious Agents and Diseases
Local or Traditional Healing Practices
New Therapeutic Paradigms
Population Dynamics and the Environment
Spiritual Body
Extropian and ...


Originally posted on Raw by Rhizome

[Ed Osborn]



“Flying Machine #4″ by Ed Osborn.


Originally posted on VVORK by Rhizome

Six Muses of Randomness


0micettt6.jpgSix white mice reside among books on logic subjects inside a laboratory cabinet, nibbling on the pages.

As they wander around the AbA Logic installation, they trigger a databank of words connected to electronic boards. The boards make up two sentences of three words each (called AbA-logic statements). Each time a mouse triggers a sensor, a new statement appears. The words (adjectives, adverbs and nouns) are common in logic terminology. The statement that appear are obviously less common.

The statements they are printed as they appear. On AbA's desk piles of sketches and notes from the process accumulates.


In addition, the mice -through their nibbling- are creating sculptural rephrasing of the books, and produce new combinations of the texts and illustrations from the pages of the books.

A work by Kalle Grude and Jan Lochstoer at AbA / Art by Accident. Coding by Hakon Lindback.

Image by Jana Winderen. More pictures: Leonardo Solaas'flickr and Interface and Society.

Related: Gail Wight's Rodentia Chamber Music.

0ice23.jpg 0icedrt6.jpg

The small ensemble of five transparent chamber instruments is inhabited by mice, who "play" them by triggering electronic whisker switches positioned within the instruments.


Originally posted on we make money not art by Rhizome