Posts for February 2007

Manure SMS Warning Service


GylleSMS ("ManureSMS") is a new Danish SMS service designed to optimize the relationship between farmers and their neighbours.

The popular service enable farmers to send their neighbours an SMS containing information about where and when they are spreading manure (the smelly fertilizer stuff that can spoil a beautiful day at the countryside).

The service-friendly farmers are now pondering whether to extend the service to include a voting system that allow neighbours to have a say about when the farmers should/shouldn't fertilize their fields.


Coming from the country I know that we could of used a service like this.

Originally posted on GUERRILLA INNOVATION by Rhizome




Tuesday, February 27, 7pm
School of Visual Arts
209 East 23 Street
3rd-floor Amphitheater
Free and open to the public

The BFA Fine Arts and Art History Departments at School of Visual Arts (SVA) present, Digital Diving: A Cut and Paste Update, a discussion of digital culture and its impact on the visual arts and information technologies. Moderated by Suzanne Anker, chair of the BFA Fine Arts Department at SVA, the program will explore the uses and abuses of such technologies as they effect knowledge acquisition and its manipulation, new media models of the visual and altered configurations of communities. The panelists are Lauren Cornell, Joseph Nechvatal, Judith Solodkin, Bruce Wands and McKenzie Wark. The event takes place Tuesday, February 27, 7pm at School of Visual Arts, 209 East 23rd Street, New York City. Admission is free. For more information, call 212.592.2010. read more


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

ASPECT seeks submissions


Liz Nofziger:

ASPECT: The Chronicle of New Media Art is currently accepting submissions of work best documented with video for the next two issues-

RURAL: calling all artists exploring the pastoral...all ranges of real and imagined bucolic ideals, verdant fears, and agrarian desires.

ARTE DE LAS AMERICAS: seeking pioneering new media work created by artists living in, or hailing from, South and/or Latin America.

The staff of ASPECT is asking curators, art critics, and members of the contemporary art community to help assemble and comment on works for the next issues by submitting a work of art on which they wish to provide audio commentary. Due to the format of the publication, the criteria for selection will include both the qualifications of the commentator and the quality of the work submitted. Audio recordings of the commentary
will be assembled after the submissions have been selected.

Submissions must include:
Video documentation of a work or small group of works by a single artist
Resume of the artist
Contact information for the commentator and artist
Resume of the commentator
Brief notes outlining the contents of the proposed commentary
If you would like us to return your materials, please include a SASE (self-addressed stamped envelope). Otherwise, we will keep your work on file for further consideration.

Submissions must be received by April 2, 2007 and sent to:
Aspect Magazine
46 Waltham Street, suite 103
Boston, MA 02118

All artists will be contacted via email no later than May 2, 2007.

For more information see our FAQ:


Originally posted on Raw by Liz Nofziger

Person of the Year


by oliver laric


Originally posted on by 53os

New Girls Network


There are a few important codes of ethics in the contemporary art world. They tend to go unspoken, but everyone knows them. Among these are the edicts that you shouldn't curate your own work, and you should be very careful about curating the work of close friends and partners, past or present. Shared Women, a major group exhibition opening this Wednesday at LACE (Los Angeles Contemporary Exhibitions), kicks those rules to the curb. There is certainly a tongue-in-cheek element to this organizing principle, as manifest in curators A.L. Steiner, Emily Roysdon, and Eve Fowler's description of Shared Women as 'an exhibition that is dependent on cronyism, feminism, and nepotism.' While this type of insider trading has gone a long way in establishing the members of many an 'old boys network,' the practice's recontextualization from a feminist perspective formulates what the organizers call a 'dirty commerce' which is truly predicated on collaboration, support, and the constructive critique necessary for growth in the art world. Needless to say, the esteemed curators included themselves in this show, along with several strongly emerging artists, including Amy Adler, Chicks On Speed, Ginger Brooks Takahashi, JD Samson, K8 Hardy, Kathe Burkhart, Leidy Churchman, Stanya Kahn & Harry Dodge, Tara Mateik, Ulrike Mueller, and others--many of whom take up extant tools, ideologies, and objects in new, media-specific ways. The show opens with a series of performances and 'interactive opportunities,' and stays up through April 8. - Marisa Olson


Upgrade! Vancouver



Outdoor Social Videosharing in the Built Environment

Upgrade! Vancouver: In partnership with Upgrade! International, Upgrade! Vancouver is launching a series of outdoor screenings of local and international art videos. Appropriating the functional model of online videosharing sites such as Youtube, we are creating a series of exploratory events that translate social videosharing into the analogue environment of the urban street.

Video programmes are curated by individual Upgrade nodes and screened outdoors in the built environment of cities including Vancouver, Paris, Montreal, Belgrade, Seattle, Scotland, Skopje, Chicago, Boston, Amsterdam and Istanbul. Videos will travel between cities, being screened locally and internationally. The social software aspect of these events is explored through a deliberately low-tech model in which flyers containing contact information for participating artists will be circulated at the screenings, with the intention of encouraging people in these cities to develop individual connections. The series will launch in Vancouver in March, 2007. For more information, to submit work, or to get involved: Kate Armstrong : kate at katearmstrong dot com. Boston artists can contact jo at turbulence dot org directly.


Originally posted on networked_performance by jo

Interview with Alejandro Tamayo



Alejandro Tamayo is an artist-engineer and a teacher working in the intersections of design, art and new technologies in a country that is often seen as the land of wild cartels, coffee, futbol, the terribly boring Fernando Botero (i'm quoting you here, Alejandro!): Colombia. I discovered his work by chance. He had emailed me to say that he wished i'd cover more of the Latin American art scene. That's something i'd love to do but i wouldn't know where to look for information about what's going on up there (although i read Spanish). Then i realized that the best way to start was to ask a few questions to Alejandro about the lab he's currently directing in Bogota.

The v*i*d*a lab, part of the Aesthetics Department at the Javeriana University, is focusing on the development of new design products and ideas. Guided by a reflexion on life itself, the course proposes to engage with organic (biological) and "post-organic" (electronic, digital) visions, trying to identify new relationships and interrogations that could be translated into the realization of concrete projects.



Originally posted on we make money not art by Rhizome



Cat’Art, international centre for research and creation
Visual arts, writing, performing arts, music…

Cat’Art is a place where the diversity of the art expressions is encouraged and where the exchanges between cultures from all over the world can be developed, so that the art expression remains a universal language.

There are still opportunities of residency in spring 2007 at Cat’Art.
Application open to professional artists only, for temporary stays from 2 weeks to 1 year.
Average residency fee: 600 € (lodging, studio and energy costs included). Detailed estimation of costs on request.

Every resident has his/her own independent bedroom with common cooking facilities.

Space for the creation:
9 independent studios from 30 to 200 m²;
3 individual rooms for writers;
a 140 m² room with excellent natural light and good show conditions to visualize the works;
a specialized library with permanent Internet connection.

The environment is exceptional (unspoilt nature, mountains, lake, in the south of France). The region has a rich historical background (Cathar castles, old city of Carcassonne and above all the cave of Niaux with its original paintings). Close by cultural centres, like Toulouse, Montpellier, Barcelona.

More details and application to residency on our website


Originally posted on Raw by Rhizome

book now for Future of Sound at Goldsmiths


Goldsmiths University Great Hall

If you are in London on March 1st, I’d recommend coming to the Future of Sound tour at Goldsmiths University 7pm. Tickets are free, and the 250 available have nearly gone already. To book a place, email Zehra Arabadji, details on this page. Set in the Great Hall (shown above & this tiny photo), its set to be a very fun evening.

Presenting & performing artists include Brian Duffy, Ross Phillips, The Sancho Plan, United Visual Artists, Chris O’Shea with Owen Lloyd, squidsoup.

Regine from wmmna has posted 5 questions to Martyn Ware about the tour. Here are my photos from Sheffield and Liverpool.


Originally posted on Pixelsumo by Chris OShea

Eno Henze: Reality Foam



Eno Henze: Der Wirklichkeitsschaum / Cortices (excerpt)

Der Wirklichkeitsschaum (The Reality Foam) is an ambitious project by Berlin-based Eno Henze. The 10 x 3,5 meter image is a massive wall, created at low cost by mounting 288 A3 inkjet prints as a continous surface. The image itself depicts a complex structure of fine trails, created by tracing particles as they move across the surface. Attracted and repelled by attractors, they leave an intriguing network of nucleii and boundaries.

This interest in fine-grained structures is repeated in Cortices. Here, a folded surface created using Perlin noise is sampled and plotted. The resulting gossamer-like structure looks as though it has been frozen in motion.

Both works were created using VVVV, a tool that is more typically used for realtime applications. Henze’s pieces show that it is more than capable of producing works for print.