Posts for January 2007

Landscapes of net behaviour



Packet Garden, developed by Julian Oliver, captures information about how you use the internet and uses it to grow a private world you can later explore.

The (free) software keeps track of all the servers you visit, their geographical location and the kinds of data you access. Uploads make hills and downloads valleys, their location determined by numbers taken from internet address itself. The size of each hill or valley is based on how much data is sent or received. Plants are also grown for each protocol detected by the software; if you visit a website, an 'HTTP plant' is grown. If you share some files via eMule, a 'Peer to Peer plant' is grown, and so on.

None of this information is made public or shared in any way, it's your own private landscape.


Originally posted on we make money not art by Rhizome

Senior Lecturer in Game Art needed for U.K position


Huddersfield University writes:




£32,137 - £40,711

The School of Art & Design has developed its suite of courses in the multimedia and media arts subject area at its locations on Huddersfield Campus and at University Centre Oldham. This includes the recently introduced Game Art course at UCO and planned developments at Honours level in this area at Huddersfield, and the School now requires a new full-time Senior lecturer to work with existing staff and researchers of the Digital Research Unit in developing this area. Game Art at
Huddersfield includes a broad spectrum of creative and cultural practices including game interfaces, narrative for games, graphics for games, character design, game worlds, the creative appropriation of games including game modification, machinima, sonichima, games as art and serious games, as well as the design of computer games for entertainment. You will be expected to deliver and support existing staff at UCO and at Huddersfield as well as contributing to the development of the subject area as a whole.


Originally posted on selectparks by Rhizome

new + new mag (#26) [Lozano Hemmer, Oswald, Biosphere...]


Via: Alessandro Ludovico

The new printed Neural issue in English is available.

. . . . . . . . . . . . . . . . . . . . . . . . .
please check it and subscribe to RSS feeds, if you want.
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[Neural n. 26 contents]
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. Rafael Lozano Hemmer (interview),
. Golan Levin (interview),
. Exonemo (interview),
. Always On, new augmented space and its memory,
. news (Academy, The Familiar Stranger Project, Bion,
Media Mirror, Spam Plants + Spam
Architecture )
. centerfold: 'Annual Checkup' by Lisa Erdman
. . . . . . . . . . . . . . . . . . . . . . . . .

. John Oswald (interview),
. Geir Jenssen/Biosphere (interview),
. Brian Mackern (interview),
. news: (Distant Views/Culture Catchers, Paper Record Player,
Yesnation, DJ Artyom, Tactical Sound Garden)
. reviews: (Audiotoop, Rolf and Fonky + Scott Pagano,
Carpet Curtains,
KNBSC505, Music Dances Itself, Nasca, on perspectives,
Journal for People)
. reviews cd: (Rafael Toral, Stephan Mathieu + Janek Schaefer,
Taylor Deupree, Yannis Kyriakides, Matt Rogalsky,
Gabriel Paiuk + Jason Kahn, Kira Kira, Tim Exile,
Anla Courtis,
Vitor Joaquim, Montreal Sound Matter, Jacob Kirkegaard...)
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. Heath Bunting (interview),
. Rick Silva (interview),
. Bare Life innovation,
. news (The Sheep Market, TrackMeNot, Reject Me,
Dark Source,
Crucifix NG).
. reviews: (Y.Benkler - The Wealth of Networks,
E.Halter - From
Sun Tzu to Xbox: War and Video Games, J.Leandre
- Archivos Babilonia,
R.F.Jorgensen - Human Rights in the Global
Information Society,
W.H.K.Chun - Control and Freedom)
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Originally posted on Nettime-ann relay by nettime-ann

The Way We Loop "Now:"



Eddying in the Flows of Media

"In 1974 Nam June Paik placed a statue of Buddha in front of a TV that displayed live feedback of the figure and titled it TV Buddha (fig. 1). The Buddha, an Eastern symbol of meditation and enlightenment, used in conjunction with the then-new technology of the closed-circuit loop, raises interesting questions about the relationship between subjectivity and media technology. Does the Buddha meditate upon itself or is it just another media effect, an eternal return of the simulated image of the self? Along with Paik's other experiments with the new medium of video in the 1970s, TV Buddha reflected an early understanding of the control that media potentially had over the intellectual life of its viewers, while at the same time expressing Paik's hope in its possibilities as an instrument of cultural exchange.1 The tension of TV Buddha resides in the precarious balance between meditation and mediation, between the consciousness and the constructedness of the self.

Approaching the relationship between subjectivity and media from a background in minimalism and performance, Bruce Nauman began exploring ways to actively involve the viewer. In Live-Taped Video Corridor, 1970, Nauman used closed-circuit video as part of a larger installation involving a too-narrow corridor to confound the participant's spatial understanding. Mainly by attempting to alienate or otherwise aggressively engage museumgoers, Nauman has continued to explore the spectatorial role.2 With Think in 1993, (fig. 2) he created a piece in which a seemingly passive viewing state roughly akin to Paik's Buddha is prodded into contemplation. Placing two monitors together, one upside down and on top of the other, each playing a looped video disc displaying his head moving into the screen, yelling "THINK", Nauman took an even more aggressive stab at the way ...


Originally posted on networked_performance by jo



According to a recent report, spam comprises 74 percent of all emails sent globally. Because of the overwhelming quantity of spam sent, spammers have had to become increasingly more creative in their attempts to lure the reader. Whether it's solicitations for bizarre coupling procedures or prize notifications from the Newfoundland lottery, spam's clever and not so clever attempts at manipulation play with the curiosity, desire and fantasy of the reader. As a peculiar cultural artifact, spam has provided ample fodder for creative interpretation by many artists. Recently, comic artist Henning Wagenbreth created the book Cry for Help: 36 Scam Emails from Africa, in which he compiles and illustrates the most bizarre, outlandish, and salacious of the genre of spam known as the 'Nigerian scam email.' In a typical email, the sender personally addresses the reader in an effort to enlist their help in an impossibly lucrative business deal. Wagenbreth illustrates these humorously unbelievable dramas in colorful woodblock and linocut designs. The artist culls his style from the underground comic culture of the 1980s as well as Eastern European illustration and decided to begin the project in order to immortalize and document this particular variety of spam, before its unwilling audience deletes it forever. - Ceci Moss


Interview by Haroon Mirza



Interview by Haroon Mirza is one of many sound based objects / installations of which a preview of sorts can be viewed / heard on the artists website.

I particularily like this work more the others as it suggests that one speaker is triggering the other over and back as in a conversation (an audio network reminescent of some previous works by me -, Mailstory) but suspect this is not in fact what is happening, that it is simply a two channel (stereo) installation. The work also reminds me of a piece I saw at an exhibition entitled L'Homme Transforme several years ago at the Cite des Sciences in Paris, where two aliens progressively developed and learned through trial and error their own language based on syntax rules over the duration of the exhibition. Very elegant and sophisticated work [....]


Originally posted on Network Research by Rhizome

Sketch of a Field of Grass


Sketch of a Field of Grass, by Ryan Wolfe, is a landscape of robotic grass that encapsulates the experience of watching the rise and fall of a summer breeze across a field. Just as in a real field, every single blade responds to the wind in a slightly different way.


The real challenge of the installation was to realize it as a collection of decentralized computers rather than as a monolithic computer controlling a network of sensors and actuators, the individual response each node has to its surroundings being a key element of the work. Individual blades of grass are computationally autonomous, they sense and respond to local environment independently. Each one is both physically distinct and simultaneously part of a larger aggregate phenomenon.

A networking protocol propagates wind data down the network, blade by blade.

In the grass: Translator II: Grower, a grass-drawing robot; Grass field on wheels.


Originally posted on we make money not art by Rhizome

Emerson College and present



OurFloatingPoints 4: Participatory Media

Emerson College and New Radio and Performing Arts, Inc. (NRPA) present OurFloatingPoints 4: Participatory Media (FP4) a speaker series that addresses the recent emergence of inexpensive, worldwide, and many-to-many publishing and communication media and focuses on how these media are transforming the relationship between cultural producers and consumers. FP4 is the fourth in an ongoing series of lectures and discussions planned with NRPA and its world-renowned website, (2/28): Ulises Mejias + Trebor Scholz; (3/28): McKenzie Wark + David Weinberger; (4/25): a panel discussion with Wagner James Au (aka Hamlet Linden), John Lester (aka Pathfinder Linden), and John (Craig) Freeman (aka JC Freemont); moderated by Eric Gordon (aka Boston Borst).

Venue: (2/28 and 3/28) Bill Bordy Theater, Emerson College, 216 Tremont Street, Boston, MA 02116; (4/25) Cahners Theater, Museum of Science, Boston.


Originally posted on networked_performance by jo

Message The - Oliver Laric



Message The by Oliver Laric.


Originally posted on VVORK by Rhizome

Art in General: Ayreen Anastas and Rene Gabri, Camp Campaign


79 Walker Street


Tribeca / Downtown

December 13, 2006 - March 31, 2007

Ayreen Anastas and Rene Gabri

Ayreen Anastas and Rene Gabri's newest project, Camp Campaign, consisted of a nation-wide campaign beginning, in New York City, with the question, "How is it that a camp like Guantanamo Bay can exist in our time?"

During the months of July and August 2006, Ayreen and Rene visited detention camps, internment camps, camping sites, and relief camps, among other types of camps in the USA. During their travel, they filmed and photographed these places, as well as the roads in-between, creating a collection of images that together show a political landscape of this country. They camped in the rural outdoors, and in metropolitan areas they camped at homes. In towns, they parked their van, which also functioned as a studio, and set-up a tent, where their campaign materials, buttons, stickers and the like were distributed. They gathered with camp people, lawyers, theorists, artists and activists. Sometimes they conducted interviews; other times, they discussed different manifestations of states of exception (government's suspension of the rule of law).

Aside from these engagements, the artists created, a website that they updated regularly during their travel. Including their writing, an anthology of reference texts, and journalistic accounts accompanied with images or podcasts of their activities, this website does more than set the campaign's ideals and political platform. It also becomes a site where the artists openly question the project's form, beginning from its naming, that of a campaign, and on to its efficacy.

Image from Art in General.


Originally posted on ArtCal by Rhizome