Originally posted on del.icio.us/inbox/marisaolson by raspop
An Internet-driven "Commodities" Trading Environment
The G-7 Stock Puppets are an Internet-driven kinetic installation that tracks the movements of global stock markets with seven larger-than-life marionette puppets. Using a real-time data stream, a network of PC laptops, and a complex electro-mechanical control system, the installation reanimates the abstract machinations of global financial markets as an absurdist carnival puppet show.
Originally posted on networked_performance by jo
It was ten years ago today that I released GRAMMATRON.
The New York Times columnist Matthew Mirapaul wrote about the release in his weekly column published the very same day.
There were over two dozen international exhibitions including a few historically relevant events like this one.
GRAMMATRON was the first of the three works in what I called my "net art" or "new media" trilogy. The other two were PHON:E:ME and FILMTEXT and, although I have made many other smaller net art works, these three are the ones that were featured in my four early career retrospectives. In fact, the "Avant-Pop: The Stories of Mark Amerika" net art retrospective in Tokyo is generally considered the first-ever net art retrospective and the follow-up "How To Be An Internet Artist" exhibition at the ICA in London the second such event (and the first in the UK/Europe).
[Click-through for more on the provenance of Grammatron....]
Originally posted on Professor VJ by Rhizome
Destroy All Monsters (sometimes rendered DAM) was an Ann Arbor, Michigan musical group formed by Mike Kelley, Jim Shaw, Niagara and Cary Loren. in 1973.
Their music touched on elements of punk rock, noise, psychedelic, heavy metal music and noise rock with a heavy dose of performance art. Their name has sometimes thought to have came from a Godzilla movie, but it could also have come from a comic book with the same title. They described their music as "anti-rock."
Originally posted on FM SHADES by Rhizome
Films Screening: Tue 26, Wed 27 and Thurs 28 12 to 5 pm (see schedule)
Panel Discussion: Thursday, June 28, 8 pm
Olga Kopenkina, independent curator and art critic, discusses issues related to paranoia with artists Mark Boswell, Jim Finn and artist, writer and Professor of Politics at the University of Paris, Anton Koslov.
The program analyzes paranoid sensibilities as presented in contemporary film and video. Paranoia is investigated in two of its phenomena: in the classical tradition of American popular culture, more specifically pulp fiction and film noir, and in the US domestic and foreign politics of suspicion, such as the Patriot Act. Terror Tactics explores the condition that gave rise to what has been called "a paranoid culture." Indeed, "visionary" cultural paranoia, expressed in the total fear of abusive violations of privacy, meets reality. As the advertising for the film Enemy of The State suggested, "it's not paranoia if they are really after you."
The films, by Mark Boswell, Jordan Crandall, Jim Finn, Jenny Perlin, Martha Rosler and Speculative Archive, are concerned with how the visual arts, influenced by the "political unconscious" of mass culture, are able to investigate culture and its relationship to politics, wealth, power, desire and autonomy. The films show how conspiracy theories, which trace their history from the '60s, may resonate in the moral climate in today's society facing world terrorism, increased public demand for security and suspicion of foreign enemies and agents. The films also project the models of constructing the narrative of today's existence using tactics similar to those employed by military and media industries.
Terror Tactics is curated by Olga Kopenkina.
Originally posted on del.icio.us/cecimoss by cecimoss
M dot Strange takes us into the new realm of video game structured and inspired storytelling with his character's harrowing quest for ice cream. The variety of animation styles, game and cultural references and distopian beauty of this work make it important to modern filmmaking. Add to this that m dot strange created this virtually single handedly and had it selected for Sundance based on his YouTube audience and you end up with a very powerful piece of contemporary media.
We are the Strange is an animated feature film in which two diametrically opposed outcasts fight for survival in a sinister fantasy world. After meeting in the somber Forest of Still Life, an abused young woman (Blue) reluctantly follows a care free dollboy (Emmm) to Stopmo City on his unreasonable quest for ice cream. They�re lives are constantly in jeopardy after they�re caught in the middle of a deadly battle between bizarre monsters on their way to the ice cream shop. A flamboyant ultraviolent hero(Rain) appears and effortlessly dispatches all the horrible monsters in his path. Blue meets Rain before he partakes in an impossible battle against the source of all that is evil in Stopmo City. When it seems as if darkness will have the last laugh a gleaming fist made of aluminum foil bursts through the ground thus starting the final showdown between mega_good and hyper_evil.
We are the Strange is its own imaginative and immersive universe. M dot Strange spent three years painstakingly creating this film, using a range of animation techniques�traditional, stop-motion, computer, and his own unique blend of 8-bit graphics and anime, dubbed �Str8nime.� The stunning visuals ...
Originally posted on Rhizome.org Raw by James
The future of Internet radio is in immediate danger.
Royalty rates for webcasters have been drastically increased by a
recent ruling and are due to go into effect on July 15 (retroactive
to Jan 1, 2006!).
go to: http://www.savenetradio.org/
and sign on "international users" if you aren't a usa citizen
Originally posted on Rhizome.org Raw by susana mendes silva
TAGallery by CONT3XT.NET extends the idea of a tagged exhibition and transfers the main tasks of noncommercial exhibition spaces to the discourse of an electronic data-space. The method of tagging allows the attribution of artworks to different thematic fields. EXHIBITION_003 was tagged/curated by Ursula Endlicher and Ela Kagel, who started the blog Curating NetArt in May 2006 as ongoing conversations about various topics surrounding media arts. Their exhibition link.of.thought_thought.of.link for TAGallery is an extension of this blog in dialogue-form and a meta-curatorial statement of their perspective on the challenges of curating media/net/art.
With projects/works by: UBERMORGEN/Alessandro Ludovico/Paolo Cirio, Jo-Anne Green/Helen Thorington (Turbulence), Aleksandra Domanovic/ Oliver Laric/Christoph Priglinger/Georg Schnitzer, Cornelia Sollfrank, Eva Grubinger/Thomas Kaulmann, 0100101110101101 (Eva and Franco Mattes), Ruth Catlow/Marc Garrett (Furtherfield), Graffiti Research Lab, Mushon Zer-Aviv/Dan Phiffer
Originally posted on newmediafix.net by Rhizome
'The spectacle in general, as the concrete inversion of life, is the autonomous movement of the nonliving.' As an artistic statement, this quote from the French intellectual Guy Debord heads the Australian, New York-based artist Cliff Evans's webpage. Gathering images from online sources using Google image searches and bringing them together through technological processes that call to mind photomontage techniques, Evans has been making poetic, visually powerful animations that examine the politics of the media in Western societies. Evans's latest project, 'Bare Life: Booth Girls and Stormtroopers-Accumulation,' is a five-channel video presented both as an altar piece that recalls medieval, religious painting and the product displays of electronic goods. As the title suggests, he created a narrative about both the real and virtual realms and the power of the male gaze by assembling different pictures of booth girls and stromtroopers. This piece takes on his most well-known work, 'The Road to Mount Weather' (2006), a three-channel video projection in which conspiracy theories, infowar, propaganda, web banner advertising, history painting, and utopian ideas dramatically constitute a digital collage of an imaginary apocalyptical world. As MoMA's Associate Media Curator Barbara London put it in her 2006 Artforum picks for The Best Films of the Year, 'With a pinch of Hieronymus Bosch and another of William S. Burroughs, Evans's... installation brilliantly portrays twenty-first-century phobias in this up-to-the-minute version of purgatory.' - Miguel Amado