Posts for 2007

Cell Phone Hacking


[...] I created a NES glitch/circuit bending theme for the Razr V3m/V3c. Instructions for installing all the pieces are on that Razr hacking site.

startup animation:

shutdown animation AND background images:

back screen image:



startup sound:

shutdown sound:


cred for images and sound:


Originally posted on qotile/slocum by Luap

Leonardo Electronic Almanac Discussion



Kathryn Yusoff + Brett Stalbaum

Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 8 Wild Nature and the Digital Life Special Issue, guest edited by Dene Grigar and Sue Thomas :: Live chat with Open University research fellow Dr. Kathryn Yusoff and San Diego-based artist Brett Stalbaum, discussing their respective works on visualizations of the earth, landscape and environments. Moderated by Marcus Bastos and Ryan Griffis.

:: Chat date: Wednesday, January 3 :: 2 pm West Coast US / 5 pm East Coast USA / 10pm UK :: LEAD is an open forum around the Wild Nature and the Digital Life special issue of Leonardo Electronic Almanac.

Chat instructions are below. The LEA website includes instructions and a complete list of upcoming chats:

Author Biographies

Dr. Kathryn Yusoff is a Postdoctoral Research Fellow at the Open University. Her research interests center on re-thinking visual culture in relation to extreme environments and technologies of vision (particularly in Antarctica, Iceland and other cold regions). She has recently completed her Ph.D, Arresting Visions: A Geographical Theory of Antarctic Light at Royal Holloway, University of London (2004). Currently, she is curating the Interdependence Day project, a research and communications project mapping the ethical terrain of globalization and environmental change.

Brett Stalbaum is an artist specializing in information theory, database, and software development. A serial collaborator, he was a co-founder of the Electronic Disturbance Theater in 1998, for which he co-developed software called FloodNet, which has been used on behalf of the Zapatista movement against the websites of the Presidents of Mexico and the United States, as well as the Pentagon. Recent work includes Painters Flat, projects with the painter Paula Poole in the Great Basin, and ongoing projects with C5 Corporation, of which he is a founding member. Stalbaum holds a Masters ...


Originally posted on networked_performance by jo

Character Reference


We're in a group show opening January 18th at Bryce Wolkowitz Gallery here in NYC with a bunch of other interesting artists.

We hope that if you’re in NYC that you can come out and see the show!

Character Reference
January 19 - February 24 2007
Opening Reception: January 18, 6-8pm

The Bryce Wolkowitz Gallery is pleased to present “Character Reference”” a group show featuring an international group of contemporary artists.

The portrait as a genre has enjoyed an enduring popularity throughout the history of art. As depictions of power and wealth, or socialist realist studies, through its current pervasiveness in contemporary photography, the portrait has long played a key role in creating and questioning identity. Through the works in “Character Reference” the artists Oliver Laric, MTAA, Julian Opie, Lee Walton and Marina Zurkow all mine this rich genre. These artists do not simply employ the portrait as a means to depict specific individuals but rather use the form to represent broader cultural types.

Oliver Laric’s “787 Cliparts” uses as building blocks the “clip art” which can be found embedded in Microsoft Word documents and Power Point presentations world over. These prepackaged images are seamlessly streamed together in a continuous dance to convey and question how diverse cultures and activities are stereotyped in the name of convenient communication.

MTAA’s “Infinite Smile” is a video portrait in which the artists’ faces hold a smile in an infinitely repeating loop. Their expressions, appear to change from glee to agony and back, highlighting the artifice of the smile and its function as a seller of goods and ideology, an indicator of happiness, and how we project our own assumptions on to the ubiquitous happy face.

In Julian Opie’s “Suzanne Walking in Leather Skirt” and “Sarah Walking in Bra, Pants ...


Originally posted on MTAA Reference Resource by T.Whid

Culture and code


A short recap of Creative Commons-founder Lawrence Lessig's evangelization talk (or rather motivation session for the converted) at 23C3 in Berlin about the differences between culture and code.

The fundamental change is the fact that code had been used to create things like printer-drivers and such. But - since a few years, code, or rather the tools that had been coded have become a main element in the creation of culture as we use and witness it today. Especially the whole mashup-culture is heavily relying on the techniques and the mindset of digital creation and open access to other's works for sampling from and building upon, etc. Popular examples are the anime music-clip subculture like the Muppet Hunter, the Jesus Christ the Musical-clip or lots of pieces that borrow from news networks' footage to make their own suggestive edits.

lessig2.jpgSo you could regard this as the pinnacle of today's tools of creativity, even the most important contemporary form of expression, probably even replacing speech and text in an American mass-media context as the main means to reach people. Having said this (and that's a bit of a rhetorical trick), he argued that threatening the freedom of this kind of usage of media equals threatening the freedom of speech itself. But, and that's a fact, the nagging question is whether this form of expression is legal or not, both in the US and elsewhere. Lessig told of a recent meeting in NYC where lawyers tried to explain the four conditions which you have to fullfill to be able to work under the law of Fair use. It took four lawyers, one hour and in the end the audience was only more confused. To him he said, it seemed a bit like the the Soviet Union ...


Originally posted on we make money not art by Rhizome

Digital Art Weeks call


Will Pappenheimer:

Digital Art Weeks Festival 2007 (DAW07)
July 9 - July 14, 2007
ETH Zurich, Zurich, Switzerland
The Digital Art Weeks is concerned with the application of digital technology in the arts. It consists of a symposium, workshops, and performances. The program offers insight into current research and innovations in art and technology. Artists and researchers will examine the use of electronic media in articulating the performer's presence through the possibilities of the multi-sensuality of electronic media. The possibility of blurring the divide between public and performer to bond them through the powers of dissemination and inclusion inherent within the technology used will also be considered. The organizers of the Digital Art Weeks at ETH Zurich seek papers, posters, and performances on themes specific to performance using electronic media. We seek proposals that explore a concept of the Performative Surround in terms of how computer-mediated communication and dialog takes place between performers and viewers and how it tends to aid in dissolving the divide between performer and viewer.
PERFORMANCES topics include:
Media Enhanced Artwork in the areas of Performance, Dance and Sound-Art
Mobile Art & Music that explore Performer Networking and Audience Participation
Digital Puppetry including Enhanced, Waldo, Motion Capture, and Machinima
Laptop Music including Live-Coding, Live-Cinema & Live-Re-Scoring
Installations involving Net-poetry computer mediated communication
Current Research and Innovations in Media Enhanced Artwork and Technology
Issues Concerning the Live-Electronic Re-Embodiment of the Performance Artist
Approaches to Performer Networking and Audience Participation using Technology
Technology and Aesthetics of Digital Puppetry
Approaches to Live-Coding, Live-Cinema & Live-Re-Scoring
Novel Software Paradigms for Mixed-Media Processing and Authoring
PANEL topics include:
Software Innovations in Mediated Communication and the Arts
Live Cinema, Expanded Video, and Film Rescoring
Immersive Audio and ...


Originally posted on Raw by Will Pappenheimer

Android Provocateur


Drawing on the conventions of Blade Runner-style science fiction, Daniel Joseph Martinez uses tropes from the genre--particularly the language of dystopian futurism, android aesthetics, and replicated consciousness--to make social, political, and philosophical provocations. The artist's strongest work borrows strategies from performance art but substitutes an automaton for the human body. His recent installation, 'The Fully Enlightened Earth Radiates Disaster Triumphant' (2006), is a life-size animitronic doppelganger of the artist clad in sanitarium-white cloth. Lying on the floor, the figure lashes and writhes as if the semi-conscious android was attempting, but failing, to function as a human. Inspiring an uneasy mix of empathy and detached curiosity, Martinez uses the viewer's relationship to the work to draw out the social and political problems that arise from the digitalization of cognizance. Like most of his work, the installation is purely a spectacle of failure, offering no conclusion to the chaos that it proposes. Taking on a more explicit political dimension, Martinez's project will represent the United States, through January 31, at the 10th Cairo International Biennial, where the installation is likely to draw comparisons to the instability caused by American attempts to 'rewire' the political workings of the Middle East. - Bill Hanley