Of course, there was certainly a long history of machines and technology inspiring 20th century artists. The path of geometry, technology, and art was in part formed by the late paintings of Kandinsky, Mondrian’s Broadway Boogie Woogie, and the machine aesthetic of artists like Charles Sheeler and Gerald Murphy. I was also influenced by the work of artists who were currently involved with imagery of machines and technology. For example, I loved the graphics of the London-based avant-garde architectural group, Archigram, and the Pop Art prints and paintings of the Scottish artist, Eduardo Paolozzi. There were also contemporary collaborative experiments like E.A.T—Experiments in Art and Technology—at MOMA, and Art and Technology, an exhibition of collaborations between artists and engineers, at the Los Angeles County Museum of Art.
The following is an excerpt of an ongoing correspondence between Seth Price and Boško Blagojević.
With the help of Amazon's Mechanical Turk, I asked workers to record 30+ seconds of "silence" from an on-board, or on-hand microphone. After collecting results, I normalized the submitted silence to a zero decibel level which high-lights the minor - normally inaudible - discrepancies between each recording/location/worker.
In doing so, Normalized Silence approaches the discourse of anonymity that surrounds network and out-source cultures. Accentuating the normally "silent" voices of anonymous workers within this framework provides a aural gesture of individuality within a realm of digital shadows.
bits & pieces is a continuous composition that gets its source sounds from the web. Every morning a special search process looks for web pages with links to sound files. If links are found, the sound files are downloaded. The day's 'catch' is then used to create the pieces in bits & pieces for the next 24 hours.
Every 15 minutes a sound generating process randomly picks a few sound files to work with. There are several sound generating processes that each generate different sound pieces. bits & pieces randomly picks which process will be used each time a new piece is made. The number of processes that bits & pieces chooses will change over time as new ones are added or old ones removed. Once a sound generating process is complete, its output is converted into two mp3 files (one for high bandwidth and one for low).
The Fragmented Orchestra is a huge distributed musical structure modelled on the firing of the human brain's neurons. The Fragmented Orchestra connects 24 public sites across the UK to form a tiny networked cortex, which will adapt, evolve and trigger site-specific sounds via FACT in Liverpool.
Each of the sites has a soundbox installed, which will stream human-made and elemental sounds from the site via an artificial neuron to one of 24 speakers in FACT. The sound will only be transmitted when the neuron fires. A firing event will cause fragments of sound to be relayed to the gallery and will also be communicated to the cortex as a whole. The combined sound of the 24 speakers at the gallery will be continuously transmitted back to the sites and to each of the 24 sites.
"You have to love dancing to stick to it. It gives you nothing back, no manuscripts to store away, no paintings to hang in museums, no poems to be printed and sold, nothing but that fleeting moment when you feel alive." Those are the words of Merce Cunningham, whose death this summer—a month after the passing of Pina Bausch—provoked a wave of public musing on the difficulties of dance’s notation and preservation, as critics expressed a bleak resignation about the medium’s supposed transience. So it’s a fortunate coincidence that the Institute of Contemporary Art in Philadelphia is starting the new season with an exhibition that demonstrates what dance has “given back” to photography, film, and video. “Dance with Camera” encompasses fifty years of art—from classics like Eleanor Antin, Bruce Nauman, and Mike Kelley to emerging artists—and all the works are rooted in choreography and modernist approaches to movement. Several of the artists make work for both theaters and galleries, and their use of the camera builds on live performance rather than serving as a record of it. Choreographer Kelly Nipper considers motion’s relation to stillness by bringing dancers to her photography studio to isolate moments, while Flora Wiegmann adapts dance phrases to places outside the theater and the camera’s lens. Elad Lassry’s 16mm films exploit the metaphoric potential of the dancer’s disciplined severity, her unity of mind and body. These artists make their camera an active agent in the work, rather than a documentary device. Their concern isn’t extending a dance’s duration in memory, but expanding the capabilities of the camera through the associative and compositional possibilities of dance. The exhibition opens Friday and runs through ...
Rhizome and OpenProcessing launched Tiny Sketch, our 200 character Processing competition, just over one month ago and it has been a tremendous success so far! The deadline for submissions is September 13, 2009, 11:59pm so if you think that you have what it takes to code something amazing in 200 characters or less, using the open-source programming language Processing, submit your piece today!