For the last five months Rhizome's been celebrating our tenth anniversary with a major Festival of Art & Technology. This Thursday we embark upon the grand finale of that fest, with the opening of Networked Nature, an exhibition of work that looks at our perception of science and natural systems, through the perspective of digital culture. Open through February 18 at Foxy Production, the show includes works by C5, Futurefarmers, Shih-Chieh Huang, Philip Ross, Stephen Vitiello, and Gail Wight that employ media ranging from plants and slime molds to digital video and audio, LEDs, GPS, robotics, and hydroponics. C5's beautiful photos document nation-wide locations identified as 'sublime' by a vast network of geo-cachers. Futurefarmers' non-electric Photosynthesis Robot is a three-dimensional model of a possible perpetual motion machine driven by phototropism, while Shih Chieh Huang's inflatable installation employs everyday household electronic devices and physical computing techniques to create a jellyfish-like creature whose tentacles flap up and down. Philip Ross' Juniors Returns are self-contained survival capsules for living plants--ironically overwrought biospheres for seedlings that would otherwise grow out of sidewalk cracks. Stephen Vitiello's Hedera (BBB) is a sprawling ivy installation from within which speakers broadcast 'percussive sounds woven from the speeches and private conversations of George W. Bush and Tony Blair.' Finally, Gail Wight's Creep is a three-channel time-lapse video of the growth of dyed slime mold. In a nod to science's stature as one of the earliest of photographic subjects, Wight and her peers in the exhibition celebrate the beauty inherent in [networked] nature. Thanks to support from the College Art Association, Rhizome also published a full-color catalogue of this exhibition, which marks a major stride forward in our programming. Please visit the show, if you're in New York! - Rhizome.org
Tracking Vienna + Tokyo through Dune+ Devil
Dune & Devil (2003-present) explores a space- and time-based phenomenon through communicational technoculture. The aggregation of Â«Â» applies different structures like global positioning systems, audiovisual media, mobile technology, tele-communication tools and specialized software, to experience the stereotopographical synchronization of two individuals in different urban situations. We are trying to translate this spatial experiment under the condition of a unique geosocial application to translate this individual, cultural and technological impact in our DIY-habitat. The project produces a sociographic disposition of a mixed reality which can be observed through the interface of dune-n-devil.com.
We are using two handheld computers with additionally installed open source java virtual machines (btw, thanx to mr. freebeans/japan for preparing mysaifu!) on a windows mobile operating-system. A specially, for this project, self-developed java application, is used to interconnect the two mobile computers via UMTS/GPRS for communication and navigation. The incoming GPS-data is streamed to a mysql database which collects all data produced (both outputs: Dune/Vienna and Devil/Tokyo). At last, the database provides the flash application for the visualization of the project Â«Â» on the website.
Public space is constantly ehanced with new infrastructures of communication such as GPS, wireless internet, telecommunication protocols, location based services, mediatectures and many more. This modification of reality happens through the new possibilities of information-technologie, interface-culture and interaction. The basic goal of the communication based sychronization-system Â«Â» is tracking digital processes in two different cultural situations (vienna & tokyo) through two different observers (Dune & Devil), and to merge this into one sensation. We are trying to translate this spatial experiment under the condition of a social application in a creative process of constructing new ways in media and art. Dune & Devil will incribe themselves into these connected, synchronized, totally different realities. This change of perspective through individual selection, dependent on the attention and the cross-link of these two realities, explain how space andt time are related to the observer and the system of observing.
Originally posted on networked_performance by jo
ShiftSpace and OPENSTUDIO
UPGRADE! BOSTON: ShiftSpace and OPENSTUDIO :: A panel discussion with Mushon Zer-Aviv + Dan Phiffer (ShiftSpace) and Kyle Buza + Brent Fitzgerald + Amber Frid-Jimenez + Takashi Okamoto (OPENSTUDIO); moderated by kanarinka. Join us in Second Life.
WHEN: January 11, 7 pm (EST) :: WHERE: Art Interactive, 130 Bishop Allen Drive, at the corner of Prospect Street, Cambridge, Massachusetts. Free parking in the lot on the corner or take the T to Central Square and walk 1 block.
ShiftSpace provides a transparent social layer above any website. It is an open source (and free software) platform that enables users to comment, add to, and modify websites. ShiftSpace allows users to experience the web as a continuous public space rather than a collection of isolated and privately-controlled islands. Through ShiftSpace artists, developers, poets, activists and others can freely meet, play, create art, debate protest and enjoy the full potential of their online freedom.
OPENSTUDIO is web + art + community + economics. It is an open ended experiment that couples a very simple drawing tool with an economy of artists, curators, collectors, dealers and viewers. Members can create and modify drawings, set prices and licenses, exchange and exhibit work, view financial records, and commission one another. Grounded in economic reality, OPENSTUDIO is a declaration of several ideals: transparency, community, and cooperation. It asserts that through collaborative effort, creativity and intelligence can bring about positive change.
Upgrade! Boston is curated by Jo-Anne Green for Turbulence.org in partnership with Art Interactive. It is one of 22 nodes currently active in Upgrade! International, an emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. If you would like to present your work or get involved, please email jo[at]turbulence.org.
Originally posted on networked_performance by jo
DEADLINE EXTENDED ANOUNCEMENT - ARCO-BEEP NEW MEDIA ART AWARDS - OFF-ARCO - PRORROGA PLAZO DE INSCRIPCION
ARCO/BEEP NEW MEDIA ART AWARDS 2nd edition
DEADLINE EXTENDED UNTILL 18th of JANUARY
A week more sometimes is a present.
Following the rutine of these events, we extend the inscription deadline of the ARCO/BEEP NEW MEDIA ART AWARDS in the OFF-ARCO category until the 18th of January.
We hope this new deadline allows you to recover the time and health lost in Christmas.
Regards and good luck,
Vicente Matallana Secretary of the Jury
Originally posted on Rhizome.org Raw by Vicente Matallana
“Teleklettergarten” - The facade of the art university in Linz was converted into a climing wall with oversized keyboard keys and buttons as a input interface for a computer. The visitors who participated in Teleklettergarten passed through a trainee programm and where trained as software developers. Through physical commitment the climbers and the programmers collaboratively inputed code into an oversized programming environment. In a week-long performance the collaborators programmed codes, scripts and tools and demonstrated various software functions. A collaboration between Bitnik and the group FOK.
Originally posted on VVORK by mail
An Interview with Joshua Fineberg.
A child of psychoacoustics and the computer revolution, the "spectral music" movement is turning Western art music on it ear (by turning it on to its ear).
Originally posted on monochrom by Rhizome
Last autumn’s conference, Architecture and Situated Technologies, at the Villard House in New York sought to rescue technologists and architects from their industry controlled and conceptually rigid engagement with each other. With the current euphoria around situated or context specific computing apparently creating new opportunities for dialogue, Ted Byfield asks whether this intersection is really something new, or whether architecture itself is not the ultimate situated technology
Originally posted on Mute magazine - Culture and politics after the net - CULTURE AND POLITICS AFTER THE NET by Rhizome
I'm currently investigating the way new media artist and designers explore mourning, its rituals and the ways to keep some form of life after death (any suggestion from readers is more than welcome.) It can translate into physical artefacts such as in Shiho Fukuhara and Georg Tremmel's famous project Biopresence, Michael Burton's Memento Mori In Vitro which imagine how the hair of the deceased can be kept alive. It can also envision a device or service that would consist of both a tangible object and its online complement like Elliott Malkin's Cemetery 2.0, a device that connects a grave to online memorials for the deceased; Digital Remains by Michele Gauler which wonders what happens to your digital data when you die; Mission Eternity by etoy, which would use the power of networked digital technology and inexpensive storage to keep aspects of us alive after we're dead; or Okude laboratory's Mastaba, a novel family shrine that consist of digital memories of ancestors with a wooden physical structure.
Or the projects might be purely virtual.
As Valentina Culatti at Neural puts it, "Just as the Web has changed long-established rituals of flirting and socializing, personal Web pages on social networking sites like MySpace are altering the rituals of mourning."
The practice of turning the MySpace page of a deceased user into a virtual gravestone has spawned a Web site focused on aggregating information about the deceased. Yourdeathspace, started 2 years ago, is simply a "collection of dead MySpace users." MyDeathSpace aggregates links to deceased MySpace users' pages, news stories, obituaries or blogs that detail their lives as well as how they died. Behavior researchers at the University of South Florida apparently follow its development to get insight into the psychosocial effects that social networks might ...
Originally posted on we make money not art by Rhizome