Posts for 2007

i am a website and these are some videos

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Collection of videos by Kent Lambert

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Originally posted on del.icio.us/network/53os by saranrapjs


The living cinematic apparatus

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0biokkkino.jpgThe Living Screen project overlays digital pixels over biological pixels to explore the tension between the inanimate and the animate and the digital versus the biological.

The Nano-Movies are projected (projection is 200 microns square in size) on Living Screens made from different tissue sources (skin, blood, sperm or cornea cells) that transform, react and change over time and eventually die. The properties of these screens inform the content of the projected Nano-Movies. They contort the Nano-Movie, and confront the spectators with issues such as life, death, virtuality and reality.

The Living Screen has many connections to early (pre-1905) motion pictures that fall under the category of the "cinema of attractions." Tom Gunning defines the "cinema of attractions" as a form of confrontation that addresses the audience directly. "Rather than being an involvement with narrative action or empathy with character psychology, the cinema of attractions solicits a highly conscious awareness of the film image engaging with the viewers' curiosity."

Fairgrounds and vaudeville houses were where early cinema found its audiences. It was also a form of safe house for the Other. With Bio-Art proliferating throughout the world, the art galleries of today are no less a freak show, as is The Living Screen.

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Details of a movie projected on a mouse cornea

A project by Bio Kino: Tanja Visosevic, Guy Ben Ary and Bruce Murphy.

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Originally posted on we make money not art by Rhizome


The 21st Prix Ars Electronica 2007

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International Competition for Cyberarts "The 21st Prix Ars Electronica 2007" has a few new features.

The new Hybrid Art category, a new prize for Media.Art.Research, and the integration of Net Vision into Digital Communities are the most visible signs of the intensive work that is being done on the definition of the competition's categories. As always, the aim is to continually keep the Prix Ars Electronica updated in line with leading-edge developments in the dynamic field of cyberarts.

All details about the categories and the online submission are available online only at here.


The 21st Prix Ars Electronica 2007
Online Submission Deadline: March 9th, 2007
Total prize money: 122.500 Euro
Contact: info@prixars.aec.at

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Originally posted on Shift Blog by Rhizome


Bent 2007 : The Fourth annual circuit bending festival

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Mike writes -

"This is the Open Call for circuit builders, benders, and destroyers! The fourth year of this annual festival of music and art features nightly concerts, daily workshops, and site specific art installations. Now in three back to back incarnations in LA, Minneapolis, and NYC. Show us your stuff!" - Link.

Related:

  • The Tank - Link.
  • BLIP festival wrap up - Link.
  • Photos from BLIP - Link.

  • [More....]

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Originally posted on MAKE Magazine by Rhizome


MoMA.org | Film Exhibitions | 2007 | Feedback: The Video Data Bank, Video Art, and Artist Interviews

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Feedback: The Video Data Bank, Video Art, and Artist Interviews January 25- 31, 2007

Taking place on the occasion of the publication of Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews and MoMAs The Feminist Future symposium (see pg. 36), this exhibition offers screenings of video art and interviews with women in the arts drawn from the Chicago-based Video Data Bank. The Video Data Bank (VDB) was started in 1976 at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. Around the same time, VDB codirectors Lyn Blumenthal and Kate Horsfield began conducting their own interviews with women artists who were underrepresented critically in the art world; these interviews soon became part of the archive. In 1980 VDB began distributing video art due to the growing need for artists representation. Over the past thirty years both collections have grown and are annotated in their newly published catalog. For this presentation, interviews and videotapes were chosen to reflect womens art making and the evolution of feminist theory over the past thirty years. Interviews are by Kate Horsfield and Lyn Blumenthal, and the videos are produced in the U.S. unless otherwise noted.

Organized by Sally Berger, Assistant Curator, Department of Film; with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. Special thanks to Kate Horsfield, Director Emeritus; Tom Colley, Collections Manager; and Abina Manning, Interim Director, Video Data Bank; and the Lyn Blumenthal Memorial Fund.

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Originally posted on del.icio.us/kick_out_the_internet_jams by kick_out_the_internet_jams


Text Art? Forget About It!

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Jason Lewis works in a variety of media to craft projects that contemplate a common mode of expression: language. In particular, his projects focus on text and the ways on which our delivery and experience of written and spoken words are influenced by engagement with the body and spatiality. His exhibition, 'Everything You Thought We'd Forgotten' (open through February 17 at Montreal's Oboro Centre for new media) presents seven projects, developed over the last seven years, 'that explore the border lands between conflicting cultural identities, memory and history, and the visual and the textual.' The artist's work is tempered by a very formal interest in the classical discipline of kinetics, as it is imagined by interactive media. 'Nine' (2001) is a personal narrative in which digital storytelling techniques meet the conventions of literary genre to employ poetry and photos of the artist in excavating 'lives that could have been--but were not--lived.' The more playful 'TextOrgan' (2000) allows users to spraypaint Lewis's poetry on a wall, while 'Cityspeak' (2006) allows users of handheld communication devices to answer a series of otherwise rhetorical questions about identity and public space. These and Lewis's other projects are extensively documented on the website for Obx Labs, the research studio directed by the artist with the mandate of pushing 'at the boundaries of computationally-based expression.' - James Petrie

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Constanze Ruhm

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Coming Attraction: X Characters (In Search of an Author)

Coming Attraction: X Characters (In Search of an Author)

X Characters in Search of an Author releases a set of female characters (4) from the film scripts through which they were originally developed. In the framework of the project, each character is providing one initial profile to be transformed over a number of “movements”, first through a performance-oriented project, followed by scripts and the final realization process.

Constanze Ruhm (1), Constanze Ruhm (2), Constanze Ruhm (3)

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Originally posted on Content by Rhizome


Sarah Sze at Malmo Konsthall

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The show is actually pretty awesome.. but does it remind anyone else (Cab) of a video game?

Hint:


Malmo Konsthall

Katamari Damacy

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Originally posted on supercentral by Rhizome


The Year In The Internet 2006!!

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Best of the web 2006!!

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Michael Bell-Smith and Cory Arcangel just put up The Year in the Internet 2006 including lists by:

David Moore and Nicholas Reville of The Participatory Culture Foundation

Artist/Curator Marisa Olson

Neil Freeman of Fake is the New Real

Internet User Travis Hallenbeck

Artist/Musician/Blogger Tom Moody

Editor/Writer/Former Videogame Designer/net.music.label boss Simon Carless

Artist/Internet User Guthrie Lonergan

Computer Programmer Cory Arcangel and Curator Hanne Mugaas

Artist/Musician Michael Bell-Smith

Web Developer/Internet User Brett O'Connor

DJ/Blogger/Music Journalist Nick Barat

Artist John Michael Boling

Critic/Writer/Curator Ed Halter

Artist/Blogger Charles Broskoski

Originally posted on del.icio.us/53os by 53os


Touch

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Touch is an urban interactive installation by the Belgian digital design and art lab, LAb[au], Laboratory for Architecture and Urbanism. The installation is placed at the base of the 145 meter high Dexia Tower in Brussels, Belgium. The installation allows the 4200 windows of the tower to be individually colour-enlightened by RGB-LED bars, turning the facade into an immense display which can be control by the users at the station for interaction placed at the base of the tower.

This station for interaction contains a multi touch screen which supports both touch and gesture based interaction. The touch screen allows multiple inputs and thus on the one hand allows people to interact with more than one finger, and on the other hand it allows people to interact together, thereby extending individual interaction to a collective experience.

Once a composition is created a snapshot is taken from a distant location, this subsequently can be sent as an electronic postcard. The picture is also uploaded on the project website where people can retrieve their postcard in an electronic and printable format.

Check out the live stream video of Touch until 15 January 2007.

Related projects: SPOTS and Blinkenlights.

Via Interactive Architecture dot org


The 4200 colour-enlightened turns the facade into an immense display.

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Originally posted on digitalexperience by lmailund