Works by Thomas Bernard.
Originally posted on VVORK by mail
Bill Hanley reviews three New York exhibitions: Not Your Parents' MTV: Music Videos From Hell at Postmasters gallery, Source Code at Eyebeam and Solar Set at Foxy Production.
Originally posted on del.icio.us/lauren_cornell by lauren_cornell
Charles Broskoski, "I Can't Breathe, Computer."
self-portrait with "Plastic Wrap" filter / August 2007
Originally posted on del.icio.us/53os by 53os
Originally posted on post.thing.net - A lean, mean, media machine. by Rhizome
Two years ago, when he was still a student at the interactive telecommunications program at NYU's Tisch School of the Arts in New York, Elliott Malkin created a very intriguing Crucifix NG, a cross made out of a circuit board, which broadcasts the Lord's Prayer. It doesn't contain any receiver, the signal is inaudible to the human ear. In fact, it's the body that works as an antenna. After the crucifix, the work of this young new media artist kept on exploring the use of everyday objects invested with the power to sanctify space.
Last year, another of his projects, eRuv: A Street History in Semacode, was installed along the route of the former 3rd Avenue elevated train line throughout Lower Manhattan. This train line was part of a religious boundary called an eruv for a Hasidic community in the first half of the 20th century. An eruv is an ancient architectural construct that stems from the observation of the Sabbath, the sacred day of rest that includes a prohibition against certain kinds of work, including the carrying of objects outside of one's home, or private domain. The presence of an eruv allows some carrying on the Sabbath by symbolically converting the shared public space within its boundaries into the shared private space of a community. In this way, observant Jews can carry objects such as keys or prayer books while acting in accordance with sacred Talmudic principles.
The train has since been dismantled and most of the community have moved away, so that enclosure is now purely imaginary. Each location along the eruv corresponds to a semacode ID. Camera phone users could receive audio content associated with that location, true stories from the past associated with that point in space. Participants could leave their ...
Originally posted on we make money not art by Rhizome
Stephanie Syjuco, Everything Must Go (Grey Market) 2006
digital prints, foamboard, paper, tape, foam; dimensions variable
[....] What appears to be a large flea market sale of used car stereos, small electronic equipment, and other goods is, upon closer inspection, an installation consisting of digital prints cut and folded to create individual box shapes and flat-front objects, and papered with images of â��actualâ�� electronics. The original images are gathered from online vendor sites such as Ebay and craigslist (another source of illicit selling), and the snapshots people take of their items are downloaded and manipulated to â��fitâ�� onto a lifesize paper model of the object. Since most images begin as low-resolution jpgs, blowing them up to â��actualâ�� size creates a visual distortion of sorts.
Stolen electronic goods can be found littering most flea markets, and in this particular work, the images I use create a second level of â��stealingâ��. Issues of bootlegging, counterfeiting, and copyright in the digital age are addressed in this work.
Originally posted on del.icio.us/lauren_cornell by lauren_cornell
Tactical Sound Garden [ TSG ] Toolkit
Given the ubiquity of mobile devices and wireless networks, and their proliferation throughout increasingly diverse and sometimes unexpected urban sites, what opportunities - and dilemmas - emerge for the design of public space in contemporary cities?
Originally posted on MAzine - Exploring the potential of networked media by Karel
Paul Slocum and Kevin Bewersdorf present a collection of sad and humorous videos, photos, and objects loaded with sincere jabs at our failure to grasp a constantly shifting world. Avoiding sophomoric indulgence through complex pathos and simple binary juxtapositions, the works are joined by the show's title, "Passing Time and the Changing Seasons of Time" which hints at the sorrow lying deep within every joke.
Often working through loose internet collaborations that remove tactile processes, Slocum and Bewersdorf rely heavily on web communities to generate necessity for their work. The show contains works previously found only on the artists' websites, made physical for the first time at Okay Mountain.
Paul Slocum lives in Dallas and is represented by Dunn and Brown Contemporary. He has exhibited in New York, Liverpool, Denmark, and Mexico and had a solo exhibition last year at Vertexlist in Brooklyn. His work and writing are published on the website www.qotile.net.
Kevin Bewersdorf completed a BFA in painting at the Rhode Island School of Design in 2004 and has exhibited in numerous group shows in Berlin, Rome, Boston, and New York City including the 2005 exhibition "Art @ Work" which displayed art in the cubicles of an empty Manhattan office building. He maintains the website www.geartekcorporation.com.
Originally posted on qotile/slocum by Luap
The special issue of Leonardo Electronic Almanac on "Locative Media" (Vol. 14, Issue 3) has been released. It's a very well-documented compilation of articles about location-based technologies with contribution of none other than Anne Galloway and Matt Ward, Julian Bleecker and Jeff Knowlton, Lalya Gaye and Lars Erik Holmquist, Malcolm McCullough, Michele Chang and Elizabeth Goodman and so forth. What is also good is the bibliography they put together with good resources on the topic. More about that here when I get enough time to parse the papers.
Why do I blog this? it gives a context to my research on mutual-location awareness in real space.
Originally posted on pasta and vinegar by Rhizome
+Commissioned by Rhizome.org+
Interview with Siegfried Zielinski by David Senior
Translated by William Rauscher
Siegfried Zielinski is an internationally recognized media theorist and educator whose recent work, Deep Time of Media: Toward an Archaeology of Hearing and Seeing by Technical Means, has just been translated into English and published by M.I.T. Press. Zielinski's approach to media history provides a method that radiates with a life and dynamism that pays homage to the figures and forms that he traces from the past. Writing on themes as divergent as the electronic music of Mouse on Mars or 17th century polymath Giovanni Battista della Porta, Zielinski's work affirms the experimentation of new forms, and the science of mixture which can connect through time and space seemingly disparate bodies of thought and media practice. Along with his research, he is also the founding director of the Academy of Media Arts in Cologne. Zielinski has very kindly answered five questions that draw on several of the themes from the newly translated work, Deep Time.[Interview...]
Originally posted on Rhizome.org Raw by David