In this video installation by Phil Collins, young people in Istanbul karaoke to songs by the Smiths. The re-contextualization of the music gives the lyrics a renewed political significance.
In the last year my practice has grown out of the studio in the form of large-scale rooftop paintings for Google Earth. This project uses materials from the waste stream (discarded house paint) to mark a physical presence in digital space.
My work is generally concerned with human perception of current conditions; the Paintings for Satellites are specifically concerned with the effects of the digital on our physical bodies.
All my work begins a series of rules derived from existing conditions. For example, the color palette for the rooftop paintings is made from the discarded paint available on a given day; the physical surface of the roof determines the shape of the painting.
As this project proliferates, it will take two forms - a community model, using local volunteers and paint from the waste stream and a design/build model, using solar-reflective paint, solar panels and green roofing contractors.
-- FROM THE ARTIST'S DESCRIPTION
Scan began as a creative diversion, but has since become a full-on fixation. I find objects with an interesting combination of surface characteristics, and create compositions by moving them over my scanner bed . Much like darkroom experimentation using burning and dodging, or the placement of objects directly onto the photographic paper's surface to create photograms, each exposure represents a choreographed movement, a moment in time captured on a two-dimensional surface. By using trial and error, I reintroduce the possibility of happy accidents into the sterile and precise process of digital imaging. I have worked my way through a collection of scannable curios, from paper grids and greyscales to lights and reflective materials. I am now focusing on CD's and DVD's, thereby introducing a digital storage medium back into the scanning process.
-- EXCERPT FROM THE ARTIST'S STATEMENT
Beyond the initial site of interment, the viewer may explore a surrounding Holy Ground in which the ubiquitous default cube and its various motifs of simulation manifest as sites of worship; a Cult of the Cube, imbued with evidence of a mysterious system of religious symbolism. The piece is presented as a journey, beckoning the viewer to explore and discover a liminal space between simulation and reality.
-- EXCERPT FROM STATEMENT ON "MAUSOLEUM II" FROM INTERNET ARCHAEOLOGY
This and that thought. (2011) - BFFA3AE (Daniel Chew, Micaela Durand, Maximiliano Ferro, Matthew Gaffney)
This and that thought. takes the form of a narrative. Visually, the project consists of the hex codes of the 216 web safe colors and a colorless box next to each, arranged in a grid. The arrangement is based on the van der Corput seqeunce which orders the colors from black to white through an unintuitive trajectory. The user is invited to click on any hex code which triggers an aural narration based on a fictional narrative of an episodic nature, jumping from subject to subject through connections sometimes obvious, sometimes oblique. Each segment of the narrative is visually associated to one of the colors by a reveal in sync with the narration. Furthermore, attached to each segment is its own unique introduction to the story. Depending on what color is activated, the user experiences a variable story in so far as the introduction and length of the narrative will change. If the user happens to click on black, then the narrative will be “whole” in the sense that the story will utilize all the segments created for the project, whereas any other color incorporates only every color between itself until the end color; white. All other elements remain the same, including the order of the colors and their associated phrase within the narrative.
-- EXCERPT FROM THE PRESS RELEASE FOR This and that thought.
"Why look at Gustave Courbet when you can download free porn?" is a question posed by one of the animated characters in Parker Ito's sardonic Artist Statement (2009), a piece that both mocks and celebrates a selection of trite, blanket statements regarding media art. Ito's humorous animation is one of the many projects enmeshed within the dense weave of Vito Campanelli's new book Web Aesthetics: How Digital Media Affect Culture and Society (NAi Publishers), a sprawling examination of post-web visual culture and the cultural implications of various forms of digital media. While the last decade has yielded a considerable amount of scholarship judging and qualifying online interactions, tracking the transformation of identity and contemplating the changing nature of attention, Campanelli's writing project extends beyond these stock investigations and sets out to identify how the web has altered our means of experiencing and evaluating contemporary art and media. The browser, internet mailing lists, peer-to-peer networks, spam, MP3 files, vernacular video and numerous other everyday platforms and protocols are put under the microscope in the interest of cultivating a broad aesthetics of digital media. While these topical, episodic investigations are generally quite successful, Web Aesthetics is not lacking in fundamental structural and stylistic idiosyncrasies.