In comics and cartoons, generic goods come in containers with bland white labels and boring block fonts. There is an archetypally generic image of 'the generic' and it's not pretty. But what does generic video look like? Stock photography and video is a major industry, catering primarily to low-budget ad campaigns and TV productions. If nothing else, the ubiquity of this material makes it worthy fodder for artistic consideration. Curator Nancy Buchanan purchased a collection of non-copywritten stock films and made them available to thirteen artists, under the auspices of a 'Generic Remix Project,' which screens tonight at Berkeley's Pacific Film Archive. The 43-minute program defamiliarizes normative representations of the world's 'content,' as it is epitomized in the original footage and its organizational system. The artists' decisions to include, magnify, or expunge elements of the videos mirrors the logic at play in the design of the visual and verbal information conveyed in generic products. The end result, however, is significantly less bland than Acme birdseed. - Marisa Olson
12th International Media Art Biennale WRO 07
Call for Works: Deadline for submissions 15.02.2007.
WRO Center for Media Art Foundation in Wroclaw/Poland, announces an international competition open to any work created using electronic media techniques, exploring innovative forms of artistic communication.
The competition welcomes creators of artistic projects of diverse forms such as screenings (video art, computer animation), installations, objects, performances, multimedia concerts and network projects from all over the world. The main prize is 5000 euro and the total prize money awarded is 8000 euro.
Biennale: the new strategies and territories of digital artistic communication; Artists in the face of high culture's permeation with popular culture; global with local culture; commercial with independent culture; the role of individual artistic attitudes in the midst of global tendencies; the metamorphosis of an artistic experiment in the light of a spectacle society culture. Media arts that de-interpret the cultural context stemming from civilization as well as interferences into the code that steers behaviors within the social space. The creation and record of a changing picture of culture.
The deadline date for entry submission is 15.02.2007.
Presentation of works selected to the very final along with the international jury's announcement of competition results will take place during public screening at the WRO 07 Biennale.
16 - 20 May 2007 competition, special events, symposium;
16 May - 17 June 2007 exhibition
National Museum in Wroclaw;
WRO Art Center
The competition regulations and entry form are available in downloadable format at http://wro07.wrocenter.pl. Requests to receive the regulations and entry form by post can be made at firstname.lastname@example.org.
TERMS AND CONDITIONS
The International Competition WRO 07 is organized by The WRO Art Center. The competition is open to ...
Originally posted on Rhizome.org Raw by ana otero
Hoerbar/Audiobar is a responsive environment created by the Danish artist Mogens Jacobsen. The project is commisioned by The Museum for Contemporary Art in Roskilde, Denmark. Mogens Jacobsen was presented with the task of finding a new way to present the museum's vast collection of international audio-art.
The result is the Horbar/Audiobar which consists of two rooms: A bar-room for collective interaction and a study lounge for more in deep exploration. In each room users can listen to different audio-art clips by moving RFID equipped bottles across a table with an RFID reader built into it. A new and playful way to communicate audio-art.
Horbar/Audiobar is exhibited at The Museum for Contemporary Art in Roskilde until April 15.
The user can interact and listen to different audio-art clips by moving RFID equipped bottles across the table.
Originally posted on digitalexperience by lmailund
The Hack-Able Curator
The 'Hack-Able Curator' is a playful interpretation of the curating system that includes a robotic arm making curatorial decisions. By using an algorithm it chooses images from the popular photo-sharing website Flickr. It is 'hack-able' because everyone can add images to the main resource by uploading them to Flickr or by voting for any images displayed on the website by sending a SMS message to the system. In both ways, the general public can influence the decision the robot curator makes. The intention is to facilitate discussion about new challenges and new possibilities for curators. The project asks whether the availability and popularity of social technologies suggests that the curator is redundant or indeed whether everyone is now a curator of their own images?
The Project has been produced by Anita Barwacz, Lindsey Bedford, Andy Bennett, Anaisa Franco, Martha Patricia Nino, Richard Wilkes (m-DAT 2006-7).
m-DAT (Digital Art and Technology) is a hybrid masters programme that integrates theory and practice of digital cultural production, and offers MA, MSc and MRes awards (University of Plymouth).
PHANTASMAGORIC MEDIA ART
Manggha -- Centre of Japanese Art and Technology in Cracow and Katarzyna WOZNIAK (curator) are happy to invite you to a lecture of OLIVER GRAU entitled "PHANTASMAGORIC MEDIA ART: Virtual Art of the 19th century and its utopic future" :: Thursday, January 18th 2007 6 p.m. :: 26 Konopnicka Street, Krakow
What is really new in Media Art? Also our latest Media Art has its forerunners. The Phantasmagoria, developed from the Laterna Magica and part of the history of immersion, opened up the virtual depth of the image space for the first time as a sphere of dynamic changes. In the Phantasmagoria, phenomena come together that we are again experiencing in contemporary art and visual representation - the talk will discuss a number of contemporary media artists. In contrast to the Panorama, the Phantasmagoria suggests that contact can be established to the psyche, the dead or artificial life forms. It is a model for the functioning of illusionism, a material image machine as basis of an art work that appears immaterial.
Oliver GRAU is an international known mediaart expert, he lectured in numerous parts of the world, received various awards and is widely published. Grau art historian and profesor for Image Science at Danube University Krems. He is head of the German Science Foundation project Immersive Art. Since 2000 he is developing with his team the first international Database of Virtual Art. His research focuses on the history of immersion and emotions the history, idea and culture of telepresence, genetic art, and artificial intelligence. Grau is an elected member of the Young Berlin-Brandenburg Academy of Sciences. Recently he was director of Refresh! First International Conference on the Histories of Media Art, Science and Technology, Banff 2005. Recent publication: Virtual Art: From Illusion to Immersion, MIT-Press2003. (4th print) and Mediale Emotionen ...
Tagging Interactive Paintings
Aram Bartholl, previously featured with his public installation SPEED and the "do it yourself set" First Person Shooter, created threeinteractive paintings "Static", "Dynamic" and "Centric". Each image shows an individual black and white pattern, handpainted with Edding on PVC foam board, which can be decoded by using a standard camera phone.
Each image shows an individual black and white pattern which has been painted manually with an edding 850. These patterns have been created by a special software on a computer. It is possible for any visitor to decode each "Semacode" by using a standard camera phone. Similar to the generic Barcodes the technology of Semacode makes it posssible to encode a specific amount of data within the pixel pattern. This string of data can be decoded from an image taken by the camera phone afterwards. The technology of Semacode is used in serveral industries for improved logistics. For the users it serves as a tool to get simple access to websites on a mobile phone. Equiped with the software the user navigates to websites by just taking a photo of a semacode which has the specific web address encoded.
A citation of Joseph Weizenbaum is encoded in the first image named "Static".
"Knowledge does NOT become unnecessary by the Internet!"
A Collective "Android Dream"
Electric Sheep is a free, open source screen saver run by thousands of people all over the world. It can be installed on any ordinary PC or Mac. When these computers "sleep", the screen saver comes on and the computers communicate with each other by the internet to share the work of creating morphing abstract animations known as "sheep". The result is a collective "android dream", an homage to Philip K. Dick's novel Do Androids Dream of Electric Sheep. Anyone watching one of these computers may vote for their favorite animations using the keyboard. The more popular sheep live longer and reproduce according to a genetic algorithm with mutation and cross-over. Hence the flock evolves to please its global audience. You can also design your own sheep and submit them to the gene pool. [via]
We invite you to aMP artMovingProjects
166 N. 12th St, between Bedford and Berry Sts., Williamsburg (917-301-6680, 917-301-0306). Subway: L to Bedford Ave. Thu- Sun, 1pm - 6 pm www.artmovingprojects.com email@example.com
January 27th 7-9pm through March 18th Opening Night Performance 8pm
2-channel video, 2006
My new body of work, Horror Cycle concentrates on the manufacturing of fear as entertainment that the horror film genre accomplishes. Unlike contemporary horror films, this work offers no extreme violence, little gore, no character development, and zero plot. These are stripped away in order to highlight the protagonists and their dilemmas.
The zombie, among other "undead" monsters, is the definitive horror creature thanks to its abject existence - robbed of identity, neither fully dead nor fully alive, neither clever nor resourceful, and driven only by its hunger for flesh. The central dilemma of the sub-genre of zombie films is that the survivor must outrun and therefore outlive the zombie. Victims turn into zombies, therefore to be caught and find oneself zombified is the most horrifying resolution. The sub-genre plots survivors on the move and ever vigilant, or temporarily holed-up and sleeping with one eye open. It is impossibly difficult to escape zombies, despite the fact that with little exception they move agonizingly slowly. Although it should be easy to escape them, the earliest victims are those paralyzed by their own fear.
Zombie Loop is a two-channel video in which projections on two opposing walls position the viewer in the center of a visual loop, wherein a gruesome zombie endlessly pursues a running survivor. On screen, I "play" both zombie and survivor. The video tracks are the same length. The zombie, prepared with professional make-up and filmed from the front stumbles, expressionless but threatening, towards its goal of catching the ...
Originally posted on vertexlistblog by Rhizome
We just launched a new online show called Professional Surfer, which explores web browsing as an art form. The show is part of Time Shares, our online exhibition series co-presented by the New Museum.
Originally posted on Rhizome.org Raw by Lauren Cornell
Tagtracker is software created by Someth;ng which runs on a mobile phone and allows datamatrix tags to link items tagged in the ‘real’ world with online resources such as websites, forums, weblogs, wiki’s etc.
The work has striking similarities to the Semapedia project but this is what datamatrix does best after all; linking ‘real’ place with ‘virtual’ space (object hyperlinking) and it’s difficult to tell which predates the other.
Unlike users of semapedia, who are encouraged to link things with reference information, here users are encouraged to mark their own territory with the tags, markers:
- ‘territory’ could be your office, your t-shirt, your business card, or anything physical.
- A ‘marker’ is a unique two-dimensional bitmap grid which associates with an online resource: a website, a forum, a weblog, a wiki, a corporate intranet, a sales catalogue, exhibition piece information.
Visitors to individuals territories, users of the tagtracker software, can photograph tags to connect to information online and find out more about the territory / item in the territory tagged:
The phone application turns a cameraphone into a ‘magic lens’ through which it can be used to locate, identify and connect to markers … The internet becomes a geographic, physical-world based resource. Discover communities local to your regular haunts, discover resources by taking a stroll, join in with groups you have physical contact with, email people you see in the street.
Originally posted on Network Research by Rhizome