Posts for June 2007

Kurt Hentschläger - “FEED”


(Video Demo)

FEED is an immersive performance in which the audience is subjected to effects and shifting mood in an artificial environment without performers in the flesh. The piece goes through two seemingly opposite stages.

New York-based Austrian artist Kurt Hentschlager creates audiovisual compositions in which audio and video actuate one another. The immersive nature of his work reflects on the metaphor of the sublime. Between 1992 and 2003 he worked collaboratively as a part of the duo Granular-Synthesis. Employing large scale projected images and drone like sound environments, his multi channel performances and installations triggered the viewer on both physical and emotional levels, overwhelming the audience with sensory information. His more recent solo work is more poetic and further researches the nature of human perception and the accelerated impact of new technologies on individual consciousness. Premiered at the 2005 Venice Theatre Biennial, FEED is an immersive performance in which the audience is subjected to effects and shifting mood in an artificial environment without performers in the flesh. The combination of suspended 3D projections, artificial fog, pulse- and stroboscopic light, induces a complete loss of spatial orientation, without depth of field. A matching soundscape infused by feedback and intense sub-low bass augments this impression, and generates a heightened physical experience.

Kurt Hentschlager - FEED
Saturday, Junio 16
Festival Sonar, Barcelona


Originally posted on ../mediateletipos))) by chiu longina

Bios 4 - Biotechnological and Environmental Art



Bios 4 is the exhibition on bio and environmental art currently running in Centro Andaluz de Arte Contermporaneo in Sevilla and if you trust dear old aunt Regine, you should book a flight to Sevilla and visit the show because you're not going to see anything like that anytime soon.



Originally posted on we make money not art by Rhizome

The LightHive: Luminous Architectural Surveillance


  <div style="clear:both;"></div><img style="display:block; margin:0px auto 8px; text-align:center;" src="" width="400" border="0" alt="" /><small>[Image: A glimpse of London's <a href=""target="_blank"><i>LightHive</i></a>, by <a href=""target="_blank">Alex Haw</a>, on display last week].</small><br /><br />An installation called the <a href=""target="_blank"><i>LightHive</i></a> closed last week at the Architectural Association in London. Designed by architect, actor, theorist, and writer <a href=""target="_blank">Alex Haw</a>, the hive functioned as a new form of "<a href=""target="_blank">luminous architectural surveillance</a>," somewhere between sculpture, optical device, and high-end interior decoration -- an <i>immersive chandelier</i>, if you will. According to the UK-based <a href=""target="_blank"><i>ArtsHub</i></a>, Haw's <i>LightHive</i> "pushes <a href=""target="_blank">CCTV</a> into another dimension." <br /><br /><img style="display:block; margin:0px auto 8px; text-align:center;" src="" width="400" border="0" alt="" /><small>[Image: Preliminary point-cloud study for the <a href=""target="_blank"><i>LightHive</i></a>, executed by <a href=""target="_blank">Marc Fornes</a>].</small><br /><br />Specifically, the hive consists of "a surveillance network" -- connected to nearly 7.5km of LED wiring -- that "records the movement of people through the building" (where "the building" is London's ...


Originally posted on BLDGBLOG by Rhizome

javier’s drawing and poetry corner



Originally posted on by 53os

The Canal Chapter: I Like to Watch


343 Canal Street, 4th floor, 917-642-5033



June 9 - June 30, 2007

Opening: Saturday, June 9, 6:00PM - 8:00PM

Curated by Carol Lee and Carlo McCormick

Artists: Hrafnhildur Arnardottir, assume vivid astro focus, Michel Auder, Marco Brambilla, C.R.E.E.P., Pia Dehne, Harry Druzd, Mark Flood, Zena Grey, Tessa Hughes-Freeland, Matthew Higgs, Jess Holzworth, Heather Hunter, Taka Imamura, Daul Kim, Hubert Kretzschmar, Tony Labat, Stephen Lack, Shawn Mortensen, Cynthia Plaster Caster, SeMeN SPeRmS, Caroline Torem Craig & Nick Waplington

Image from The Canal Chapter.


Originally posted on ArtCal by Rhizome

Profiling at the Whitney Museum


Whitney Museum of American Art
945 Madison Ave.
New York, NY 10021

June 8 - September 9
Lobby Gallery / Lobby

Two public art installations that explore the use of automated systems for "profiling" people comprise Profiling, an exhibition that begins on June 8 and runs through September 9, 2007, at the Whitney Museum of American Art. Addressing issues surrounding surveillance, protection, privacy, and identity, the exhibition is organized by Christiane Paul, the Whitney’s adjunct curator of new media arts.

The connection between surveillance and entertainment is at the core of SVEN - Surveillance Video Entertainment Network (2006-present), by Amy Alexander, Wojciech Kosma, Vincent Rabaud, Jesse Gilbert, and Nikhil Rasiwasia. SVEN humorously subverts the use of surveillance technologies ordinarily directed at profiling "suspicious subjects." This project asks the question, “If computer vision technology can be used to detect terrorists, criminals, or other undesirables, why can’t it spot rock stars as well?” SVEN tracks visitors, detecting their characteristics, and analyzing their "rock star potential." The resulting video and audio are displayed on monitors, interrupting the standard security camera display each time a potential rock star is detected. The idea is to examine and demystify concerns about surveillance and computer systems not in terms of being watched, but in terms of how the watching is being done -- and how else it might be done if other people were at the wheel.

David Rokeby's surveillance installation Taken (2002) provides two readings of the activities in the museum: a continuously accumulating history of movements of visitors that is both a statistical plot of gallery activities and a record of each act of each visitor; and a "catalog" of visitors' head shots with classifying adjectives randomly attributed to them (i.e. 'unsuspecting', 'complicit', 'hungry'). Taken addresses the increasing use of automated systems for profiling ...


Originally posted on Raw by Christiane Paul

Interview with Susana Mendes Silva


Miguel Amado:

+Commissioned by

Interview with Susana Mendes Silva,
by Miguel Amado

Lisbon-based Susana Mendes Silva is a pioneering artist in the Portuguese new media art scene. Although her practice reaches beyond the conventional genres of this field, her technologically mediated performances, in which she explores the emotional states underlying personal relationships in general and intimacy in particular, granted her a deserved recognition both locally and abroad. She is about to relocate to London, where she will do a studio-based PhD at Goldsmiths College and, recently, she presented the latest installment of her important work 'art_room' in the US at Upgrade! International in Oklahoma City. This led Rhizome Curatorial Fellow Miguel Amado to interview her about her practice.


Click-through for the full interview...

Originally posted on Raw by Miguel Amado

Hive Networks UNlaunched June 13


Wednesday June 13
@ Space Triangle Hackney
129-131 Mare Street London E8 3RH

17:00 pm: a special reception and debate with the hive-mind
19:00 pm: speeches and hospitalities

Hive Networks is an Open Source project that has developed a DIY kit for ubiquitous computing. During an extensive R&D; phase, we have created Hivewares - a range of software tools that transform industrially built, inexpensive, small consumer devices into the much smarter species of Hive device.

With Hivewares we offer an easy to use media toolkit that creates networks that can see, hear, move and communicate using a suite of applications that enable a device to gather and disseminate digital content.

Now we invite you to explore the current development phase of the project and hear about art projects past, present and future. We welcome media practitioners, curators, organisers and researchers to examine the project, give advice and come up with ideas for future developments.

For information & rsvp please e-mail:


Originally posted on Tiki RSS feed for the wiki pages by Rhizome

Propoganda Propagating Online


The effects of local politics are global. Warfare isn't limited by national borders; climate change cannot be confined. While the blogosphere has provided the disenfranchised with a platform for discussion and debate, one of the most powerful tools of grassroots communication has remained essentially provincial: Printed on paper and affixed to walls with wheat paste, the propaganda poster is a medium made to stay in place. Propaganda III effectively questions this role by proposing a hybrid future for poster art that relies on the global reach of photo-sharing website Flickr and the universal availability of inkjet printers. Already nearly two hundred posters from around the world have been submitted to the Propaganda III Flickr gallery--administered by San Francisco gallery START SOMA--with entries from Iran, Croatia, and China joining more conventional fare from England and the United States. Much of it, such as Shepard Fairey's stylish


Jimpunk vs Visitorsstudio.


Jimpunk has just created one of his dynamic and enigmatic net art pieces that focuses on Furtherfield's Visitorsstudio, a deconstruction or destruction of its interface.

Please use a Firefox browser for viewing this work, to get the full effect.


Originally posted on - by Rhizome