16777216 is a new online work by Richard S. Mitchell, a San Francisco-based artist with a background in video. 16777216 is viewable through the Jancar Jones Gallery's website from August 28th until September 4th, click here to see it. The work consists of over 16.7 million frames, each a color in the RGB color model, displayed at 25 frames per a second. Colors are displayed when the web browser synchronizes with the server, where the colors slowly move from black towards white.
Neoism Propaganda (1984)
The Unknown Neoist on Broadway (1983)
MACHINES / MACHINES (1984)
Dr. Amok's Brain Waves (1984)
When Orpheus’ beloved Eurydice dies, he cajoles his way into the underworld with his musical charms and his lyre. Wanting her but not her shade, he cannot forbear looking back to physically see her and so loses her forever. In this modern day Orphean tale, an anonymous narrator also desperately searches for a lost love. Rather than the charms of the lyre, contemporary technological tools, Google Street View and Google Earth, beckon as the pathway for our narrator to regain memories and recapture traces of his lost love. In the film, they are as captivating and enthralling as charming as any lyre in retrieving the other: at first they might seem an open retort to critics of new technology who bemoan the lack of the tangible presence of the other in our interactions on the Internet.
Our narrator remembers that once, with her back turned while facing the Adriatic Sea, a Google Street View car drove by and took a picture of his beloved, who detested being photographed, without her realizing it. Our narrator cherishes this photograph and the entire relationship becomes encapsulated in the screen capture replacing all other experiences and memories. Soon it is not enough. Our narrator cannot imagine that, in a world where everything is recorded, that someone could completely disappear. In daily systematic searches for photographs of the nameless other, Google Street View and Google Earth allow him to move seamlessly through vast detailed three-dimensional space. This extraordinary geographical and social exploration is favored by Google satellite images, user-created 3D renderings of Stonehenge and Machu Picchu and Street View panoramas of favorite vacation spots. As an undifferentiated series of cultural, historical and contemporary symbols float together or follow one another in rapid succession, in a world where Dutch anthropologists discover pre-Socratic fragments on Turkish islands ...
[The Facade, Half-Life 2]
[Lights in Mid-Air Glitch, Grand Theft Auto 4]
[The Facade 2, Left 4 Dead 2]
In pop culture, “ghosting” is:
n. the appearance of one or more false images on a television screen.
v. when players that have been killed in a video game watch other players.
As viewers look through the gas mask, a video self-portrait is super-imposed onto the action figures via the pepper’s ghost theatrical illusion.-- DESCRIPTION FROM ARTIST STATEMENT
Shadow, Glare explores such experiential disruptions through a subtle visual intervention: Without altering the computer's normal operations, the program renders a morphing series of translucent forms that seem to float between the screen's real surface and the immaterial desktop. This simulation can blend unobtrusively with any actual shadows that happen to be cast on the screen; users may continue to work or browse while only peripherally aware that the program is running. But the slowly evolving forms can also occlude the desktop and interrupt the user's focus. To Shirreff, these subtle shifts in attention characterize the experience of working at a computer: "Time evaporates, and while at points I'm engaged, for the most part I'm folded into the experience, while somehow still scanning its surface." Unlike an object in an art gallery designed for close observation, Shadow, Glare operates between the multiple levels of awareness encouraged by a computer interface.
If our eyes were to be turned into a camera, it would be a rather poor device. More precisely, it would not resemble a single-frame snapshot camera, but a video stream of a mostly blurred visual field with only spots of clarity. Our eyes move rapidly and continuously update the image in the brain, and it has been concluded that the brain, resembling a high-tech processor, cleans up the received input. Paradoxically, one of the functions of photography is to remind us of the impossibility of our eyes to perceive reality as a still image - as the saccadic scanning of our eyes show, there is nothing fixed or stable in nature. Matter is always in flux.
In his artistic practice, Rune Peitersen explores precisely this aspect of the visual apparatus through a research project he started two years ago. This summer, he presented the most recent series of his results in Ellen de Bruijne Projects in Amsterdam, in a show entitled “Saccadic Sightings: Einstein and Bohr.” In a secluded room, one was able to indulge in the three main elements of the show: a short text on Einstein and Bohr, Observing Uncertainty - an enigmatic large photograph of a hallucinatory scene covered with a map of small printed squares, accompanied by Observer Effect - a series of smaller black photographs with dots of visual clarity representing each of the square from the large photograph.
I met with sisters Sarah and Lara Grant of Felted Signal Processing the other week at their Brooklyn apartment. Felted Signal Processing is an ongoing project, which came out of their individual research as graduate students in NYU’s ITP program. Sarah entered the program to further her skills in new media and Lara went to learn how to program, play with hardware and generally learn the electronic side to apply to her interactive fashion. Now graduated, they have teamed together up in their Felted Signal Processing project, which allows them to explore their joint passion for soft circuitry and wearable technology. Together, they build colorful, handmade felt interfaces that allow users to manipulate sound through physical interaction such as pulling, scrunching or stroking. Most of their interfaces are built to output sound, but they are also interested in the development of new materials and techniques for fabricating soft sensors for interfaces that can be hooked up to a variety of outputs. Lara has been felting for 7 years, and they explained that felt is their “dream medium.” Sarah was the first of the two to apply the medium to soft circuitry; the name “Felted Signal Processing” actually came from her thesis, where she hacked a guitar pedal and integrated conductive felt into the circuit, letting users squeeze and scrunch the material in order to literally shape sound. Once Lara embarked on her thesis, she chose to develop a skill set of techniques to create and control variable resistance in soft circuitry. Sarah, a programmer with a background in new media art and a long standing interest in sound, focuses on the software and hardware side of their projects while Lara, who spent years working in fashion and textiles with an emphasis in conceptual ...