Posts for 2007

Aram Bartholl

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Tagging Interactive Paintings

Aram Bartholl, previously featured with his public installation SPEED and the "do it yourself set" First Person Shooter, created threeinteractive paintings "Static", "Dynamic" and "Centric". Each image shows an individual black and white pattern, handpainted with Edding on PVC foam board, which can be decoded by using a standard camera phone.

Each image shows an individual black and white pattern which has been painted manually with an edding 850. These patterns have been created by a special software on a computer. It is possible for any visitor to decode each "Semacode" by using a standard camera phone. Similar to the generic Barcodes the technology of Semacode makes it posssible to encode a specific amount of data within the pixel pattern. This string of data can be decoded from an image taken by the camera phone afterwards. The technology of Semacode is used in serveral industries for improved logistics. For the users it serves as a tool to get simple access to websites on a mobile phone. Equiped with the software the user navigates to websites by just taking a photo of a semacode which has the specific web address encoded.

[...]

A citation of Joseph Weizenbaum is encoded in the first image named "Static".
"Knowledge does NOT become unnecessary by the Internet!"

more works by Aram Bartholi [blogged on placeboKatz]

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Originally posted on networked_performance by jo


OLIVER GRAU Lecture

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PHANTASMAGORIC MEDIA ART

Manggha -- Centre of Japanese Art and Technology in Cracow and Katarzyna WOZNIAK (curator) are happy to invite you to a lecture of OLIVER GRAU entitled "PHANTASMAGORIC MEDIA ART: Virtual Art of the 19th century and its utopic future" :: Thursday, January 18th 2007 6 p.m. :: 26 Konopnicka Street, Krakow

What is really new in Media Art? Also our latest Media Art has its forerunners. The Phantasmagoria, developed from the Laterna Magica and part of the history of immersion, opened up the virtual depth of the image space for the first time as a sphere of dynamic changes. In the Phantasmagoria, phenomena come together that we are again experiencing in contemporary art and visual representation - the talk will discuss a number of contemporary media artists. In contrast to the Panorama, the Phantasmagoria suggests that contact can be established to the psyche, the dead or artificial life forms. It is a model for the functioning of illusionism, a material image machine as basis of an art work that appears immaterial.

Oliver GRAU is an international known mediaart expert, he lectured in numerous parts of the world, received various awards and is widely published. Grau art historian and profesor for Image Science at Danube University Krems. He is head of the German Science Foundation project Immersive Art. Since 2000 he is developing with his team the first international Database of Virtual Art. His research focuses on the history of immersion and emotions the history, idea and culture of telepresence, genetic art, and artificial intelligence. Grau is an elected member of the Young Berlin-Brandenburg Academy of Sciences. Recently he was director of Refresh! First International Conference on the Histories of Media Art, Science and Technology, Banff 2005. Recent publication: Virtual Art: From Illusion to Immersion, MIT-Press2003. (4th print) and Mediale Emotionen ...

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Originally posted on networked_performance by jo


m-DAT presents:

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The Hack-Able Curator

m-DAT presents: The Hack-Able Curator project :: 19 Jan - 18th March 2007 :: Plymouth Arts Centre, as part of the SLOW exhibition.

The 'Hack-Able Curator' is a playful interpretation of the curating system that includes a robotic arm making curatorial decisions. By using an algorithm it chooses images from the popular photo-sharing website Flickr. It is 'hack-able' because everyone can add images to the main resource by uploading them to Flickr or by voting for any images displayed on the website by sending a SMS message to the system. In both ways, the general public can influence the decision the robot curator makes. The intention is to facilitate discussion about new challenges and new possibilities for curators. The project asks whether the availability and popularity of social technologies suggests that the curator is redundant or indeed whether everyone is now a curator of their own images?

The Project has been produced by Anita Barwacz, Lindsey Bedford, Andy Bennett, Anaisa Franco, Martha Patricia Nino, Richard Wilkes (m-DAT 2006-7).

m-DAT (Digital Art and Technology) is a hybrid masters programme that integrates theory and practice of digital cultural production, and offers MA, MSc and MRes awards (University of Plymouth).

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Originally posted on networked_performance by jo


Hørbar/Audiobar

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Hoerbar/Audiobar is a responsive environment created by the Danish artist Mogens Jacobsen. The project is commisioned by The Museum for Contemporary Art in Roskilde, Denmark. Mogens Jacobsen was presented with the task of finding a new way to present the museum's vast collection of international audio-art.

The result is the Horbar/Audiobar which consists of two rooms: A bar-room for collective interaction and a study lounge for more in deep exploration. In each room users can listen to different audio-art clips by moving RFID equipped bottles across a table with an RFID reader built into it. A new and playful way to communicate audio-art.

Horbar/Audiobar is exhibited at The Museum for Contemporary Art in Roskilde until April 15.

Other projects by Mogens Jacobsen: The Power of Mind/Memory, TurntablistPC and Crime Scene.


The user can interact and listen to different audio-art clips by moving RFID equipped bottles across the table.

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Originally posted on digitalexperience by lmailund


CALL FOR WORKS - 12th International Media Art Biennale WRO 07

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ana otero:

12th International Media Art Biennale WRO 07
http://wro07.wrocenter.pl

Call for Works: Deadline for submissions 15.02.2007.

WRO Center for Media Art Foundation in Wroclaw/Poland, announces an international competition open to any work created using electronic media techniques, exploring innovative forms of artistic communication.

The competition welcomes creators of artistic projects of diverse forms such as screenings (video art, computer animation), installations, objects, performances, multimedia concerts and network projects from all over the world. The main prize is 5000 euro and the total prize money awarded is 8000 euro.

Biennale: the new strategies and territories of digital artistic communication; Artists in the face of high culture's permeation with popular culture; global with local culture; commercial with independent culture; the role of individual artistic attitudes in the midst of global tendencies; the metamorphosis of an artistic experiment in the light of a spectacle society culture. Media arts that de-interpret the cultural context stemming from civilization as well as interferences into the code that steers behaviors within the social space. The creation and record of a changing picture of culture.

The deadline date for entry submission is 15.02.2007.

Presentation of works selected to the very final along with the international jury's announcement of competition results will take place during public screening at the WRO 07 Biennale.

Agenda:

16 - 20 May 2007 competition, special events, symposium;
16 May - 17 June 2007 exhibition
Places:

National Museum in Wroclaw;
WRO Art Center
The competition regulations and entry form are available in downloadable format at http://wro07.wrocenter.pl. Requests to receive the regulations and entry form by post can be made at print@wrocenter.pl.

TERMS AND CONDITIONS

The International Competition WRO 07 is organized by The WRO Art Center. The competition is open to ...

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Originally posted on Rhizome.org Raw by ana otero


Acme Video?

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In comics and cartoons, generic goods come in containers with bland white labels and boring block fonts. There is an archetypally generic image of 'the generic' and it's not pretty. But what does generic video look like? Stock photography and video is a major industry, catering primarily to low-budget ad campaigns and TV productions. If nothing else, the ubiquity of this material makes it worthy fodder for artistic consideration. Curator Nancy Buchanan purchased a collection of non-copywritten stock films and made them available to thirteen artists, under the auspices of a 'Generic Remix Project,' which screens tonight at Berkeley's Pacific Film Archive. The 43-minute program defamiliarizes normative representations of the world's 'content,' as it is epitomized in the original footage and its organizational system. The artists' decisions to include, magnify, or expunge elements of the videos mirrors the logic at play in the design of the visual and verbal information conveyed in generic products. The end result, however, is significantly less bland than Acme birdseed. - Marisa Olson

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Art in General: Ayreen Anastas and Rene Gabri, Camp Campaign

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79 Walker Street

212-219-0473

Tribeca / Downtown

December 13, 2006 - March 31, 2007


Ayreen Anastas and Rene Gabri


Ayreen Anastas and Rene Gabri's newest project, Camp Campaign, consisted of a nation-wide campaign beginning, in New York City, with the question, "How is it that a camp like Guantanamo Bay can exist in our time?"

During the months of July and August 2006, Ayreen and Rene visited detention camps, internment camps, camping sites, and relief camps, among other types of camps in the USA. During their travel, they filmed and photographed these places, as well as the roads in-between, creating a collection of images that together show a political landscape of this country. They camped in the rural outdoors, and in metropolitan areas they camped at homes. In towns, they parked their van, which also functioned as a studio, and set-up a tent, where their campaign materials, buttons, stickers and the like were distributed. They gathered with camp people, lawyers, theorists, artists and activists. Sometimes they conducted interviews; other times, they discussed different manifestations of states of exception (government's suspension of the rule of law).

Aside from these engagements, the artists created www.campcampaign.info, a website that they updated regularly during their travel. Including their writing, an anthology of reference texts, and journalistic accounts accompanied with images or podcasts of their activities, this website does more than set the campaign's ideals and political platform. It also becomes a site where the artists openly question the project's form, beginning from its naming, that of a campaign, and on to its efficacy.

Image from Art in General.

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Originally posted on ArtCal by Rhizome


Message The - Oliver Laric

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Message The by Oliver Laric.

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Originally posted on VVORK by Rhizome


Emerson College and Turbulence.org present

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OurFloatingPoints 4: Participatory Media

Emerson College and New Radio and Performing Arts, Inc. (NRPA) present OurFloatingPoints 4: Participatory Media (FP4) a speaker series that addresses the recent emergence of inexpensive, worldwide, and many-to-many publishing and communication media and focuses on how these media are transforming the relationship between cultural producers and consumers. FP4 is the fourth in an ongoing series of lectures and discussions planned with NRPA and its world-renowned website, Turbulence.org. (2/28): Ulises Mejias + Trebor Scholz; (3/28): McKenzie Wark + David Weinberger; (4/25): a panel discussion with Wagner James Au (aka Hamlet Linden), John Lester (aka Pathfinder Linden), and John (Craig) Freeman (aka JC Freemont); moderated by Eric Gordon (aka Boston Borst).

Venue: (2/28 and 3/28) Bill Bordy Theater, Emerson College, 216 Tremont Street, Boston, MA 02116; (4/25) Cahners Theater, Museum of Science, Boston.

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Originally posted on networked_performance by jo


Sketch of a Field of Grass

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Sketch of a Field of Grass, by Ryan Wolfe, is a landscape of robotic grass that encapsulates the experience of watching the rise and fall of a summer breeze across a field. Just as in a real field, every single blade responds to the wind in a slightly different way.

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The real challenge of the installation was to realize it as a collection of decentralized computers rather than as a monolithic computer controlling a network of sensors and actuators, the individual response each node has to its surroundings being a key element of the work. Individual blades of grass are computationally autonomous, they sense and respond to local environment independently. Each one is both physically distinct and simultaneously part of a larger aggregate phenomenon.

A networking protocol propagates wind data down the network, blade by blade.

In the grass: Translator II: Grower, a grass-drawing robot; Grass field on wheels.

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Originally posted on we make money not art by Rhizome