Posts for 2007

Cell Phone: Art and the Mobile Phone


0puiniok.jpg Cell Phone: Art and the Mobile Phone , at the the Contemporary Museum in Baltimore, will explore some of the groundbreaking works that are being created by artists today using cell phone technologies. These works engage such features and technologies as camera phones, video phones, GPS, Bluetooth, ringtones, and messaging.

Cell Phone features 30 artists and artist collectives representing the range of artworks being created with and for a mobile phone device.

Some of the works in Cell Phone take the form of a sculptural object, like Beatrice Valentine Amrhein's Videos Lustre which features dozens of cell phones hanging from the ceiling like a chandelier, each running a short film on the cell phone's screen. Other works, like TXTual Healing by Paul Notzold, or cell:block by URBANtells, invite the audience to contribute content to a work through SMS or photos sent from their cell phones.

0mobilediscioj.jpgAnother category of works include those that involve downloading a program, a video, or an image to your mobile device. Angie Waller's, for example, expands the communicative possibilities of cell phones through a series of narrative animations that can be downloaded and sent to friends instead of a text message. Other works like Mark Shepard's Tactical Sound Garden or Blast Theory's Uncle Roy All Around You allows audience members to participate with others in an interactive performance. Making a call from a cell phone will connect visitors with yet another group of works in the exhibition. Talking on a cell phone while walking through Informationlab's room-sized installation Cell Phone Disco, for example, will make visible the aura of an active cell phone's signal by creating a trace of blinking lights on the gallery walls. In other works, a phone number will be given to access pieces ...


Originally posted on by Regine

Catherine Perret in conversation with Joseph Nechvatal


CP: The most important contribution for art of the so-called New Technologies is that they introduce and/or let appear new process and forms of thinking. Is it possible to define them and their characteristics?

Do you think that New Technologies reveal these forms of thinking or that they introduce some kind of innovation in terms of methodological thinking?

read more


Originally posted on - A lean, mean, media machine. by Joseph Nechvatal

Dune 4.0 - Daan Roosegaarde


Dune 4.0 by Daan Roosegaarde is an interactive landscape which physically changes its appearance in accordance to human presence. Placed in the main corridor of Montevideo, Dune 4.0 is composed of hundreds of fibers which react in correspondence to the movements and sounds of the visitors.  Daan described this as a "hybrid of nature and technology " which "functions as a platform on which the relationship between visitor and the existing architecture is enhanced. By means of looking, walking and interacting, visitor and space merge into one coherent environment which could be best interpreted as a kind of Alice in Technoland”.

Dune 4.0
is part of a series interactive installations I make called ‘Liquid constructions’. There is Liquid Space, 4D-Pixel, Liquid 2.0, Wind 3.0, Dune 4.0 and for the U3 Triennale in Slovenia his is building Flow 5.0. Check out Regine’s recent interview with Daan about Dune 4.0 on wmmna.


Originally posted on Interactive Architecture dot Org by Rhizome

Upgrade! Seattle



annie on ni wan + eunsu kang

Upgrade! Seattle :: 7 pm Thursday January 11, 2007 :: 911 Media Arts Center - 402 9th Ave N - Seattle, WA.

Annie On Ni Wan is a young activist in audiovisual performance, interactive art and an innovator in interactive technologies. She achieved a Bachelor of Arts in Creative Media from School of Creative Media, City University of Hong Kong, in 2002. She has lived in Singapore, London, Brighton and Gothenburg (Sweden), earned a Master of Science in Art and Technology at Innovative Design, Chalmers University of Technology, Sweden in 2005. Her work includes locative media, audiovisual performances and interactive installations.

Eunsu Kang will talk about her media art work such as videos, interactive installations and interactive performances. These are her attempts to represent her consistence subjects; Alien, who is someone or some creature has been shunned by "normal" communication method, Unknown Zone and the new forms of communication which will open more channels among aliens and others. She explores a new form of communication in the form of Art, especially Media Art that concerns communication in the matter of theme and modality simultaneously.



Originally posted on networked_performance by jo

Auction Art Accumulations


Artists have been using since the online commerce website began. Many have performatively sold their souls, ethnicity, gender, and life's possessions, making the site a very public platform for internet-based narratives and meditations on the nature of public exchange. Generally, however, the artist plays the role of seller. It would seem, in fact, that the only other (and much less popular) option is to play the role of buyer. William Boling does neither in his net art project, 'Peel.' He's simply an observer, interested in the very hermeneutics of his transaction-less observations. On Peel, Boling presents his collection of jpg images, scraped from product pages. He says of the highly-popular site, 'In 2006 it is reasonable to infer that more than a billion pictures were made for eBay sells and were examined in many instances multiple times. The vast majority of these images are confected for the purposes of the sell and will be erased.' Boling keeps the jpegs in circulation while presenting them in haiku-like trios, hinting at their discarded context and concocting a new narrative, in the tradition of dialectical montage. Whereas the images once had a narrowly-restricted, easily-read meaning, they now signify in new ways. Yet, ultimately, Boling is not so free from the constrictions of economic models. His curation of sixty images, out of a personal collection of thousands, puts his 'consumption' on display, creating a material trace of his net-surfing habits. Fortunately, the objects he collects aren't subject to escrow. - Marisa Olson


4. International Pixelstorm-Award


The International Pixelstorm-Award is a digital competition, in which all submissions are visible immediately on the web.

A large number of designers and artists from all areas of the world compete with each other and submit entries every year.

The main price – the golden pixel – is assigned by an international jury and given to the winners during the pricegiving ceremony. The ceremony is broadcasted on the Web through several Webcams and an online chat.

The pixelstorm-award will be announced for the fourth time very soon. The deadline for participation will last from Jan 8th 2007 until Jan 30th 2007. The pricegiving ceremony will take place on Feb 24th in two locations in Basel and Zurich, and – of course – on the web.

The highlights of the last years, and the recordings of the awards-ceremonies can be seen here:


Originally posted on Raw by Rhizome

Networked Nature at Foxy Production


Marisa Olson:

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Organized by RHIZOME, an affiliate of the New Museum of Contemporary Art

January 11 - February 18, 2007 Opening reception: January 11, 6-8 PM

Foxy Production presents Networked Nature, a group exhibition that inventively explores the representation of 'nature' through the perspective of networked culture. The exhibition includes works by C5, Futurefarmers, Shih-Chieh Huang, Philip Ross, Stephen Vitiello, and Gail Wight, who provocatively combine art and politics with innovative technology, such as global positioning systems (GPS), robotics, and hydroponic environments.

In their work Perfect View, San Jose-based collective C5 reached out to the subculture of recreational GPS users, or geo-cachers, asking them for their recommendations of 'sublime locales.' The submitted latitudes and longitudes provided the guide points for a thirty-three state, thirteen-thousand mile motorcycle expedition by collective member Jack Toolin, who photographed the terrain at the given coordinates. The results, presented in triptychs, smartly subvert traditional representations of landscape and notions of the sublime.

San Francisco-based collective Futurefarmers' Photosynthesis Robot is a three-dimensional model of a possible perpetual motion machine driven by phototropism - the movement of plants towards the direction of the sun. Their proposal that a group plants will very slowly propel a four wheel vehicle is a witty take on the pressing search for new forms of energy.

New York artist Shih-Chieh Huang's inflatable installation, Din-Don I, is inspired by everyday household electronic devices and his studies of physical computing and robotics. In this ingenious exploration of organic systems, he creates a dynamic circulation of electricity and air: a living micro-environment.

San Francisco-based Philip Ross' Juniors are self-contained survival capsules for living plants. Blown glass enclosures provide a controlled hydroponic environment, where plants' roots are submerged in nutrient-infused water, while LED lights supply the necessary illumination. The artist has drawn on two culturally divergent ...


Originally posted on Raw by Marisa Olson

Stephen Wilson's IntroSpection


"The installation enables people to interact with microorganisms and cells derived from their own body in a non-invasive way. The contradiction of interacting with these alien, unfamiliar life forms (which are nonetheless intimately connected with our bodies) focuses on the boundaries between self and non-self and the cultural interest in bioidentification."


Originally posted on organism: making art with living systems by Rhizome

Game Arcade


Game Arcade consists of four game machines which reproduce interactive game surfaces known from the digital world with the help of solely analogue and/or mechanical projectors. Inside the installations are modified 8mm film- and slide projectors. The game surfaces are created on 8mm film and projected as film-loops. The interaction or navigation happens mechanically or by buttons and switches.

The four games count Racer, Pixelblaster, Shoot the Monster and Pixel Slot Machine. Racer is a classic car racing game. In Pixelblaster players must control a small robot and make sure it steers clear of bullets falling from above. In Pixel Slot Machine, the player has to harmonize a set of symbols in a pre-set time, and in Shoot the Monster the aim of the game is to eliminate various malicious characters by burning images out of a film strip. The latest addition to the collection of analogue game machines is the installation High Noon which combines analogue technologies with mobil phones.

Game Arcade is created by Mobileskino, a group of four Super8 enthusiasts who sees working with Super8 as a way of confronting the tension between modern media and what is seen as retro or old. In their work they focus on the fact that each technology has its own characteristics which makes it artistically unique, and Game Arcade is their artistic answer to the discourse about analogue and digital media.

Via we-make-money-not-art.

Game Arcade consists of four game machines which are made entirely by using analogue and mechanical technologies.


Originally posted on digitalexperience by lmailund

New Year’s Deferrals



What better way to defer the New Year than to send a message using the abstractmachine:crypt?

To use the service, simply enter the target email and your message. The abstractmachine server will encrypt your message for some random period between 1 and 365 days, after which it will decrypt the message and send it to the email address you indicated.

This encryption device can also be considered a temporally deferred postal delivery device. It can be used for new year’s resolutions, unreliable loved ones, or perhaps some horribly bad news that you just cannot bring upon yourself to deliver. Deferral can offer the necessary distance to make all of the above easier to manage.

The idea came from some far more elegant ideas Ragnar had, but lacking budget and time, we are currently in a little temporal deferral of our own. It can also be considered a response to Fabrice Gallis's concept of the crypt as time-generating machine, i.e. another plot for slow real-time systems.


Originally posted on abstractmachine by Douglas Edric Stanley