Posts for 2007

Frank Popper



From Technological to Virtual Art

From Technological to Virtual Art by Frank Popper: In From Technological to Virtual Art, respected historian of art and technology Frank Popper traces the development of immersive, interactive new media art from its historical antecedents through today's digital, multimedia, and networked art. Popper shows that contemporary virtual art is a further refinement of the technological art of the late twentieth century and also a departure from it. What is new about this new media art, he argues, is its humanization of technology, its emphasis on interactivity, its philosophical investigation of the real and the virtual, and its multisensory nature. He argues further that what distinguishes the artists who practice virtual art from traditional artists is their combined commitment to aesthetics and technology. Their "extra-artistic" goals -- linked to their aesthetic intentions -- concern not only science and society but also basic human needs and drives.

Defining virtual art broadly as art that allows us, through an interface with technology, to immerse ourselves in the image and interact with it, Popper identifies an aesthetic-technological logic of creation that allows artistic expression through integration with technology.

After describing artistic forerunners of virtual art from 1918 to 1983 -- including art that used light, movement, and electronics -- Popper looks at contemporary new media forms and artists. He surveys works that are digital based but materialized, multimedia offline works, interactive digital installations, and multimedia online works (net art) by many artists, among them John Maeda, Jenny Holzer, Brenda Laurel, Agnes Hegedus, Stelarc, and Igor Stromajer. The biographical details included reinforce Popper's idea that technology is humanized by art. Virtual art, he argues, offers a new model for thinking about humanist values in a technological age.

Frank Popper is Professor Emeritus of Aesthetics and the Science of Art at the University ...


Originally posted on networked_performance by jo

Organized Networks



Media Theory, Creative Labour, New Institutions

Organized Networks: Media Theory, Creative Labour, New Institutions by Ned Rossiter :: First publication in the series "Studies in Network Cultures", published by NAi Publishers, Rotterdam and Institute of Network Cultures, Amsterdam.

The celebration of network cultures as open, decentralized, and horizontal all too easily forgets the political dimensions of labour and life in informational times. Organized Networks sets out to destroy these myths by tracking the antagonisms that lurk within Internet governance debates, the exploitation of labour in the creative industries, and the aesthetics of global finance capital. Cutting across the fields of media theory, political philosophy, and cultural critique, Ned Rossiter diagnoses some of the key problematics facing network cultures today. Why have radical social-technical networks so often collapsed after the party? What are the key resources common to critical network cultures? And how might these create conditions for the invention of new platforms of organization and sustainability? These questions are central to the survival of networks in a post-dotcom era. Derived from research and experiences participating in network cultures, Rossiter unleashes a range of strategic concepts in order to explain and facilitate the current transformation of networks into autonomous political and cultural "networks of networks".

* Whose Democracy? NGOs, Information Societies and Non-Representative Democracy * The World Summit on the Information Society and Organized Networks as New Civil Society Movements * Creative Industries, Comparative Media Theory and the Limits of Critique from Within * Creative Labour and the role of Intellectual Property * Processual Media Theory * Virtuosity, Processual Democracy and Organized Networks *

About the author: Australian media theorist Ned Rossiter works as a Senior Lecturer in Media Studies (Digital Media), Centre for Media Research, University of Ulster, Northern Ireland and an Adjunct Research Fellow, Centre for Cultural Research, University of Western Sydney, Australia.

"Studies in Network Cultures ...


Originally posted on networked_performance by jo

Cell Phone: Art and the Mobile Phone


Cell Phone: Art and the Mobile Phone, at 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.

Originally posted by Regine from, ReBlogged by Tricia Wang on Jan 4, 2007 at 01:36 AM


Originally posted on Eyebeam reBlog by Regine

portrait of photoshop as text



Originally posted on supercentral by cabbie

06 cya


Nerdz Rising 06

Cory Archangel at Team

Jessica Ciocci at Foxy Production

Michael Bell-Smith at Foxy Production

Paul Slocum at Vertex List

Tom Moody at Artmoving Projects

Jennifer & Kevin McCoy at Postmasters

Straight up Net Art


punk rock 101

Toni Burlap

With Elements of Web 2.0

Weather Gauge

Tracking Transience

Oil Standard, Greasemonkey conversion of US Dollars to Barrels of Oil



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Lambs In Ascension

Tracking Transience



My Digital Pog Page

Some Other Good Stuff (Lots of MOMA for some reason)

Dada at MOMA

Ã��…But I was CoolÃ��, Jerry Gant, Robert Pruitt and Dread Scott at Aljira

Lee Walton at Conflux

Noah Lyon at 33 Bond Street

Herzog & de Meuron at MOMA

Douglas Gordon at MOMA

8 Bit at MOMA

On and Off at Bryce Wolkowitz Gallery

Nicole Eisenman at Leo Koenig Inc.

The Downtown Show at The Grey Art Gallery

Update: (aka oh, yeah)
Strange Powers at Creative Time


Originally posted on MTAA Reference Resource by M.River

Piemonte Share Festival 2007



Digital Affinity / Communities Now

Piemonte Share Festival 2007: Digital Affinity / Communities Now :: Festival of culture and arts linked to the new media and digital technologies :: When: from Tuesday, 23rd January to Sunday, 28th January 2007 :: Where: Accademia Albertina di Belle Arti main premises :: Via Accademia Albertina, 6 10124 Torino :: info[at]

INAUGURATION: Accademia Albertina Tuesday 23rd January 2007 from 6 to 10 pm; With aperitif and live performances!



Originally posted on networked_performance by jo

Share {exchange|distribute} (A) 2007.01.05 r4WB1t5 micro.Fest


Chris Molinski:



++++++++++++++++++++++++++++++++++++++++++++++++++ + (A) 2007.01.05 r4WB1t5 micro.Fest + DISTRIBUTION RELIGION ++++++++++++++++++++++++++++++++++++++++++++++++++

2007.01.05 ONE NIGHT ONLY REALTIME A/V JAMBOREE 7PM - ON PILOT LIGHT 106 E Jackson Ave Knoxville, TN 37915


OPENING 6PM - 11PM The Art Gallery of Knoxville 317 N Gay St Knoxville, TN 37917 Gallery Hours: Friday - Saturday (3-8pm)

* ALL = FREE + OPEN ++++++++++++++++++++++++++++++++++++++++++++++++++

Please join us this Friday Night to share, {exchange|distribute}, create crossroads of digital punk, blues musics + freak folktronics as forms of protest + resistance to current socio-economic situations + political contingencies at (A) r4WB1t5 micro.Fest.

(A) r4WB1t5 rocks digital systems @ Pilot Light, with a realtime audio and video jamboree by r4WB1t5 participants from Knoxville, Chicago and beyond with:

Curt Cloninger - lab404 (Asheville NC .US) performing realtime audio video

Fecal Japan (Knoxville TN .US) playing experimental noise musics

Cindy Latham (Knoxville TN .US) screening digital video

Operators of E.D.E.N. (Chicago IL .US) operating a utopian switch board system

AND MORE! in an open cybernated jam session including these artists as well as the r4WB1t5 micro.Fest organizers themselves, Chris Molinski, jonCates, jon.satrom and jake elliott. a folksonema screening opens the night @ Pilot Light with metatagged media from all across the global interweb super sprawl.

++++++++++++++++++++++++++++++++++++++++++++++++++ + (A) r4WB1t5 micro.Fest @ The Art Gallery of Knoxville + ++++++++++++++++++++++++++++++++++++++++++++++++++

++ @ The Art Gallery of Knoxville, upload art to 0P3NFR4M3W0RK (images) + R4WD10PL4Y84CK800M80X0R (audio) to make a mashed up cinema machine! 0P3NFR4M3W0RK projects your digital images into an open golden frame on the Gallery wall while R4WD10PL4Y84CK800M80X0R transits your audio files on a micro.Radio station broadcasting to olde skool ...


Originally posted on Raw by Chris Molinski

The Best of the Web 2006


  Professional Internet publishers can define virtually any activity these days as work related, which can mean significant problems for your productivity. However, once a year, we have the opportunity to tally the results of our time wasting skills, which today means recapping the best and worst things we've seen on the web in 2006.<br /><br /><span style="color: rgb(0, 102, 0); font-weight: bold;">THE BEST OF THE WEB 2006</span><br /><br /><div style="text-align: center;"><img src="" height="328" width="400" /><br /></div><br /><span style="font-weight: bold;">10. <a href="">The Fishyawa - Bagagaga Bop</a>!</span><br /><br />At the end of August <a href=";cid=1156456210969&call_pageid=970599119419">the Toronto Star</a> ran a great article (* no longer available)  on Animutation a form of flash animation that embraces the nastiest of graphics, and mutates the faces of pop stars. Probably the best of the videos I've seen in this genre, Bagagaga Bop represents an art form that developed naturally as a result of working with web tools and assets. No deep meaning can be found in this work, which is completely the point.  Why struggle to find thought in a McGraphic? Deface a popstar, add a few babies, aliens and boats to a video, and back it with a song written in a language you don't understand.    I've heard some grumbling that this form of animation is problematic because it exotifies Japanese music, and while I can't wholly dismiss the argument, I figure if I'm not bothered by the fact that somebodies face is being disfigured in the ...


Ah, thanks, Paddy. Hey, check out our Artbase, where we do host net art, and also our online net art exhibits, like those in the Time Shares series...

Originally posted on Art Fag City by Rhizome

Engaging 'Intermedia'


In the mid-sixties, Fluxus artists began using the term 'intermedia' to describe work that was both interdisciplinary and composed of multiple media. The term highlights the intersection of artistic genres and has gradually emphasized performative work and projects that employ new technologies. The exhibition 'Engaging Technology: A History and Future of Intermedia,' on view through March 11 at Muncie, Indiana's Ball State Museum of Art, offers an art-historical survey of such activity. Artists Richard Bloes, Hans Breder, Adam Brown, Gary Hill, Dick Higgins, Jenny Holzer, Golan Levin, Nam June Paik, and Alan Rath show work that explores 'intersections between electronic media and various modes of art making--video, poetry, sculpture, performance, sound, typography, music, and installation.' Organizers John Fillwalk and Tania Schuler worked to explore the etymology of the term 'intermedia,' while emphasizing the practice of artists who 'are particularly interested in the relationship between a viewer and a work of art.' Fillwalk's curatorial statement argues that, 'In encountering that threshold of engagement, the viewer can enter into a partnership with the artist in shaping the direction of the work.' The implication is that these pioneering pieces have an ongoing legacy and flexible trajectory. Meanwhile, the show is a refreshing look back at the history of new media. If you can't visit it in person, check out the online video tour. - Marisa Olson


Wolf Vostell


Sun In Your Head (1963)

Sun In Your Head was first screened on September 14, 1963 as part of a larger 'happening' by Wolf Vostell called "9 Decollagen," which took place in nine different locations in Wuppertal, Germany. The film is based on Vostells principle of decollage,' but since no commercially available moving image technology provided the playback aspects of video at the time, Vostell had to film distorted images off a TV screen and later compose the temporal sequence.


Originally posted on Expanded Cinema by Rhizome