Jeremy Bailey is a Toronto-based new media artist whose work explores custom software in a performative context. Powered by humor and computer vision, his work wryly critiques the uneasy relationship between technology and the body while playfully engaging the protocols of digital media. Over the last decade Bailey has exhibited and performed at a range of international festivals and venues including the 2010 01SJ Biennial, HTTP Gallery, Subtle Technologies and in 2001 he co-founded the (now defunct) 640 480 Video Collective. I conducted the following interview with Bailey over email and we used our conversation to delve into a number of his projects from the last five years.
Between Human And Machine: Feedback, Control and Computing Before Cybernetics by David A. Mindell on MIT World
In this clip, MIT Professor David A. Mindell gives a talk on his book Between Human and Machine: Feedback, Control and Computing Before Cybernetics (John Hopkins University Press, 2002). Despite the C-SPAN quality of the video, there are some interesting insights here.
Today, the relationship between feedback, control and computing is associated with Norbert Wiener's 1948 formulation of cybernetics. But the theoretical and practical foundations for cybernetics, control engineering, and digital computing were laid earlier, between the two world wars. In his book, David A. Mindell shows how the modern sciences of systems emerged from disparate engineering cultures and their convergence during World War II.
Backdrops and sets used in the Televisa studios in Mexico City for use in telenovelas. From the photo series "The Factory of Dreams" which documents the production of telenovelas.
What do you mean by ‘crisis of the unit of measure’?
It is as if the metre, the standard set to measure cognitive and affective experience, no longer works. We see the same crisis in the fields of politics and history: social prosperity is no longer produced by labour time, but by knowledge, by a general knowing, by ‘general intellect’, and as a result social prosperity and labour time are no longer directly connected. The new standard to measure prosperity is within the domain of intelligence, language and collaboration. The problem is that social prosperity is still measured by the old standard of labour time, while realities have changed and it is actually determined by ’general intellect’. We can see the same thing happening in 20th-century art. It demonstrates the inadequacy of the old standards and suggests, in the formal sphere and through the formal work of poetry, new standards for the appraisal of our cognitive and affective experience. This is a point that brought the artistic avant-garde close to the radical social movement and in this sense there is a kind of brotherhood between the two: they would like to explain that the old standards are no longer valid and to look for what might be new standards. Another way to put the problem is: how can you locate a new public sphere, which has nothing to do with the state? Avant-garde art proved the impotence, the inadequacy, the disproportion of the old standards through a formal investigation. The common ground of art and social movements is never about content. Art that relates to social resistance is beside the point, or rather art expressing views on social resistance is not relevant. The radical movement and avant-garde poetry touch on the formal investigation that yields an index of new forms ...
Like traditional Buddhist sand mandalas, each interactive mandala created is unique and impermanent. The design is created using random noise rotated around a center point to create ordered intricate patterns and changing colors. The user can interact with this mandala for meditative purposes, zooming to any level, applying rotation or a preset movements. The user can also choose to destroy and create a new mandala at any moment, but will never receive the same one again.
Controls: use scroll wheel on mouse to zoom, click and drag to rotate and spin. "Q" resets view and creates new mandala. "W" resets view. "A" dissolves mandala. "Z" stops the dissolve. "1" and "2" slow down and speed up the rotation.
Sound composition by Maggie Payne.
Online magazine Triple Canopy announced their annual call for proposals. Short description below, deadline is February 14, 2011.
Triple Canopy is pleased to announce its second annual call for proposals. We will be commissioning projects spanning the six areas outlined above—original research, new-media journalism, public programming, Internet-specific artwork, and critical dialogues—to be published in the magazine and presented before live audiences between July 1, 2011, and June 30, 2012. Proposals are due by February 14, 2011.
Triple Canopy staff will work closely and collaboratively with contributors as they develop their projects, a process that usually takes between three and six months. Recipients of commissions will be offered a modest honorarium of up to $500, depending on the scope of the project and the cost of its development, in addition to between twenty and thirty hours of work by editors, designers, and developers.