Posts for 2012

The Composition Is the Thing (After Stein) by Joseph Rosenzweig


The first step towards a better future for the industry is not likely to cause confusion. Composition of the essential features hereinbefore set. Is it just me or the other hand? The results show clearly enough that the people have been displaced. Thing of the Day is Turf. Seen in this light it becomes clear why some of the biggest blunders cost savings. By using this product and click the button. Every day that gets you organized and makes recommendations to the Board and is protected under applicable laws relating to workers in the private sector is not a valid stream resource. One such case involved an accusation. Living our values does not exceed the maximum number of times that each person has their own things. In the present embodiment is a compound. The most popular password is not working properly. Living and Working Offworld in the world is not enough and living with floods and droughts will be given. They will not be published or reproduced in whole or in part without permission. Are you sure you want to remove this? Doing this allows the user to enter a plea. They can keep private. Are the lyrics to this song not correct? The time now is the time to read this complete guide to information. Composing and decomposing bodies of the slain were the first to find deals. Of these two types of people in this country that are covered by the provisions set out the following information is provided. The current rate is calculated as an average over the period of the first embodiment. Composition for treatment of the subject areas below the mean value of the assets is not available. That is to say that this game is a remake. At least one type of telecommunication device ...


Wavelength: "The Paris, Texas of the Second Empire" by Lawrence Kumpf


The Paris, Texas of the Second Empire

Compiled July 2012 by Lawrence Kumpf

The flâneur is someone abandoned in the crowd. He is thus in the same situation as the commodity. He is unaware of this special situation, but this does not diminish its effects on him, it permeates him blissfully, like a narcotic that can compensate him for many humiliations. The intoxication to which the flâneur surrenders is the intoxication of the commodity immersed in a surging stream of customers. -- Walter Benjamin, 1938

A phantasmagoric journey through mid-20th century Country-Western music inspired by Walter Benjamin’s "The Paris of the Second Empire in Baudelaire."

Like the poet as flâneur in Benjamin’s essay, the country singer holds a position as the susceptible vessel that embodies the incongruities and ruptures characteristic of modern life. Neither an active symptom nor proprietor of a solution for the social ills, the singer finds himself drawn into the intoxicating world of empathetic relations to, with and as commodity. We hear, perhaps more clearly then in Baudelaire, a voice speaking not from the elevated position of a social commentator or critic, but as the desire of the commodity and commodified. Connoisseurs of narcotics sing empathetic odes to inanimate objects and intoxicants, fortifying themselves in homes that are really bars. Hobos, trashmen and ragpickers walk the street collecting and picking through the worn out, exhausted items that have escaped our economy of exchange: the antiques of modernity, the images of obsolescence. The perpetual peregrinator, a rambling man, heroically stripped of the comforts of modern life finds himself stalking graveyards and mourning a loss that has yet to occur, the final refuge of his own death. In a way these songs embody the last gasp of a failed American politics, the moment before county western music slips into an emphatic listing of personal property as banal as Rick Ross’ "Trilla." The tragedy of our era is that the latent revolutionary desires present in Hank Williams Jr.’s "Fax Me a Beer" (not included in this mix) are forever doomed to find their outlet in an inane fantasy of endless technological advancement.

1.Porter Wagoner - The Wino
2.Jim Ed Brown- Bottle, Bottle
3.Porter Wagoner – Shopworn 4.Hank Williams – Men with Broken Hearts
5.Leon Rausch – Glass of Pride
6.Don King – Live Entertainment
7.David Allen Coe – Sad Country Song
8.Don Silvers – Play me another Hank Williams
9.Porter Wagoner – Bottom of the Bottle
10.Merle Haggard – Swinging Doors
11.Porter Wagoner – I Just Came to Smell the Flowers
12.D. Sheridan – Don’t Make Me Laugh (While I’m Drinkin’)
13.The Willis Brothers – Gonna Buy Me A Jukebox
14.David Frizzell – I’m Gonna Hire A Wino to Decorate our House
15.Frank Lowe - "Trash Man"

Lawrence Kumpf is a curator at Issue Project Room in Brooklyn, NY.


Artist Profile: Paolo Cirio


So much of your work relies on the interaction between technology and performance, and I'm wondering if you can explain the intersection of new media and performance as you see it, in your work and in general. 

Today we deal with a torrential flow of information, a very rapid flux that is contingent on volatile temporary contexts. Beyond high speed, some contextual factors that influence artworks with digital networked technology are the multiplicity of uncontrollable sources of information, unpredictable human and algorithmic interactions and unstable environments, so nothing can happen twice in the same way. Moreover information and media are always more ephemeral, they disappear quickly, often without leaving traces. Data, software and devices continually change, for instance: You can't keep a tweet forever in the streamline, as well as the interface of a social media platform or a smartphone's Operation System. Ultimately the controversial private ownership and restrictive policies of some technology and data don't even allow to the artists to own and maintain their own work. These conditions require us to consider most of the artworks done within networks as a type of contemporary live performances, a thesis reinforced by the participatory elements brought by the audience, whose involvement is often the main aim of the works.

For these reasons I prefer to display offline installations about my works within networks, which is a solution for conserving performance art that’s been adopted for more than half a century already.

To preserve the performance, I translate concepts, material and documentation of the live performances into durable objects, materializing pure information and the processes of making the artwork and live network interventions.

I like to define my artwork as the sculptural performance of information's power, with correlations to Joseph Beuys’ idea of Social Sculptures ...


Custom Culture


Unboxing Body by Body

"Brand Innovations for Ubiquitos Authorship" focuses on the rise of customizable print-on-demand products as aided by the internet. A sampling of the impressive roster of more than sixty artists includes Parker Ito, Daniel Temkin, Lauren Christiansen, and Jayson Musson. Artie Vierkant, who organized the show at Madison Avenue's Higher Pictures gallery, explained some of the thinking behind the exhibition: 

I always thought of these services as a very interesting sign of where we're headed in consumer space. The Internet has helped make one-to-many content empires stumble and niches to become stronger, and consumer goods are now no exception. The idea is that we've moved past mass production and into something like custom/craft/artisinal production on a massive scale; production for each individual amongst the mass. It's easy to get wrapped into that idea--particularly if you watch something like Zazzle's 'About Us' video, which hits you with a combined rhetoric of liberation-through-self-expression and environmental-consciousness--even if in practice Internet-ordered custom items are often a cheap and mass-produced object marked with an image emblazoned by an expensive printer.

All objects were shipped directly to the gallery and opened on site with little to no prior knowledge of how the artists had chosen to customize their products. Videos of this unboxing process, like the one above, can be seen on the show's Youtube page. Vierkant stressed that by sending all products to Higher Pictures, artists in foreign countries avoided high shipping costs that could have barred even small objects from being included in the show. Vierkant added that not every artist had chosen to work with the suggested on-demand services: Borna Sammak, for example, contributed a limited edition jacket made by Buron, based on one of the artist's designs. "This kind of ...


Between Early, Prime and Afternoon: Omer Fast at the Wexner Center


Installation view of Omer Fast: 2001/11 Wexner Center for the Arts, The Ohio State University
Courtesy of gb agency, Paris, and Arratia Beer, Berlin Photo: Mark Steele

“We were going for the ‘faceless Modernism’ look,” says curator Christopher Bedford during a tour of the two-video exhibition “Omer Fast: 2001/2011” at Ohio State’s Wexner Center. (I’d visited the Columbus museum days before Bedford’s appointment as the Director of the Rose Museum at Brandeis University.)  “We attempted to recreate the environment that one would inhabit while watching primetime news in 2001,” he says, as we peruse the aesthetically innocuous, comically “normal” room surrounding Fast’s 2002 video CNN Concatenated.  “It all comes from Ikea,” explains Bedford, “and we were actually a bit fearful that this lamp may be a bit too tasteful.” The lamp looked like a rolled-up, bioluminescent albino armadillo, though surprisingly slightly tasteful. Nearby, a television sits center stage in a faux-mahogany entertainment set, an oversized silver ampersand “accent piece” next to it. From the television blares a jerky monologue enunciated by varying, always-pristine news anchors. Each individual word is a frame depicting a flash of a different newscaster—some reporting on 9/11—which are strung together to form sentences. (Hence “CNN Concatenated,” the latter word meaning “to link together in a chain or series.”) Fast utilizes a sort of supercut stylistically reminiscent of “The Clock,” yet its source material is hundreds of hours of taped new programs throughout post-9/11 2001. Rapidly oscillating through various TV personalities, the monologue is distinctly divorced from anything a news anchor may usually utter: 

Listen to me I want to tell you something

Come closer

Don't be upset and don't get emotional

Just get near me and pay attention please

Look, I know that you're scared

I know what you're afraid of

You mistrust your body

Lately it has been looking more and more foreign

It's been doing strange things




“Ghosts in the Machine” at the New Museum


 “Ghosts in the Machine” Public Programs July 18–September 30, 2012

“Ghosts in the Machine” will be accompanied by a series of public programs that explore the temporal and social dimensions of the relationship between art and technology. These include a conversation between artist Otto Piene and exhibition curator Massimiliano Gioni, a series of films that elaborate on the idea of “expanded cinema” and offer a counterpoint to the immersive environment of Stan VanDerBeek’s Movie-Drome (1963–66/2012) on view in the exhibition, and a performance by choreographer Tony Orrico that will test the limits of the artist’s body as a medium for drawing. A panel discussion at the end of September will open up the concept of “technological art” as well as invite critical reflection on the exhibition itself.


Otto Piene in conversation with Massimiliano Gioni 

Wednesday July 18, 7 p.m. 

Free to New Museum members, $10 General Public 


An evening devoted to an intergenerational conversation about art and technology between artist Otto Piene and exhibition curator Massimiliano Gioni. Otto Piene (German, born 1928) is a leading figure in kinetic art and one of the founding members of the group ZERO, initiated in 1957. Central to Piene’s art practice are connections between art, technology, and nature. In 1974, he succeeded György Kepes as the director of the Center for Advanced Visual Studies at MIT where Piene established MIT as an important locus internationally for furthering the union of art and technology. Massimiliano Gioni is Associate Director and Director of Special Exhibitions at the New Museum, New York. He curated “Ghosts in the Machine,” with Gary Carrion-Murayari and he is currently organizing the 55th Venice Biennale opening in summer 2013.


Get Weird: Antipop Consortium

Friday July 27, 7 p.m.

$10 New Museum members, $12 General ...


Videos from Eyeo Festival


Eyeo Festival has uploaded a number of videos of keynotes from Casey Reas, Ben Fry, Robert Hodgin, Paola Antonelli and others:

Eyeo2012 - Casey Reas from Eyeo Festival on Vimeo.

Eyeo2012 - Robert Hodgin from Eyeo Festival on Vimeo.

Eyeo2012 - Ben Fry from Eyeo Festival on Vimeo.

Eyeo 2012 - Paola Antonelli from Eyeo Festival on Vimeo.


Artist Profile: JK Keller


Realigning My Thoughts on Jasper Johns (screenshot)  2011

You seem to be preoccupied with the viral spreading of your work (in your website, under the social media “like” count, you wrote “Seeing these numbers rise is my drug.”) Why is this such an important consideration to you?

For me, the number of likes/+'s/mentions/views are the closest thing I have to renumeration for work that is currently difficult to commodify. The means in which we are able to sell digital work is still very much loose and up in the air. I can take solace in these numbers. Know that the work is reaching people, even if the specific metrics are a fools game, an addictive comparison mechanism where the only impossible successful outcome is a continual rate of increase.

Is the possibility of the rapid spreading of your work one of the reasons you choose new media or video as a medium for most of your works?

It's less about rapidly spreading my work than about the possibility of widely spreading it. And cheaply. My technologically formative years were in the 90's when the internet was revolutionizing the idea of ubiquitous publishing and communication. We were using modems measured in baud, emailing around a tiny video of a cg dancing baby, not streaming the latest feature-length film wondering if a single service was going to have 1 billion active users. The 90's were a transitional period, and I think we're in another one (yes, yes, we're always in a transitional period). But unlike the technological idealism of the 90's led by thinkers, tinkerers, and artists, we seem to be in a confusing "what the fuck just happened" period where we're scared/uneasy/apprehensive about where technology may be leading us ...


Rhizome Announces Commissions 2012 Grantees


For Your Eyes Only by Adam Harvey

Rhizome is pleased to announce the ten artists/collectives awarded grants through our annual Commissions Program. This year over 300 proposals were submitted by artists from around the world. Two commissions were selected by Rhizome's membership, through an open vote, and eight by a jury including Hans Ulrich Obrist, co director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London; Jonathan Lethem, author of The Ecstasy of Influence; Caitlin Jones, Executive Director of Western Front; Renny Gleeson of Weiden + Kennedy; and Lauren Cornell, Executive Director of Rhizome. 

This year, the Rhizome staff has also selected an honorary award for Jesse Hulcher's REAL TIME MACHINE a proposal that represents his conviction, as well as a solid plan, for building functioning time machine. While we will not be awarding him a grant, we wish him the best in his endeavors.   

See below for the descriptions of each commission from the artists's proposals.

Jury Awards:

Karolina Sobecka - Persona

Persona is a game, a twist of the classic First Person Shooter (FPS) game genre: the gameplay is centered on a gun combat and experienced through the eyes of the gun-holder. The gun is a prominent feature of the composition, and in my game it fires automatically on anyone within its field of view. The player cannot drop the weapon or stop it from firing, but he can turn or hide — obstructing his vision. The object of the game is to shoot as few people as possible. The gameplay is as stimulating and intense as in the traditional FPS, but the conflict here is between the player and his own in-game persona. The off-screen player grapples for control, trapped in the body and actions of the game convention.

Dan Phiffer - is an invisible Temporary Autonomous Zone built on Internet technologies like wifi and HTML. The project seeks to build a network of independent wifi routers, each hosting local services that don't require an Internet connection. The routers have no upstream bandwidth, there is no mesh protocol. Each node of the network is a LAN island in an archipelago of affiliated websites.

Juan Obando - MUSEUM MIXTAPE (Dirty South Edition)

Composed of a series of videos, limited edition cassette copies, a website, and a downloadable album, Museum Mixtape aims to create a playful connection between hip-hop narratives and institutional art spaces. By inviting local rap artists to comment (via performance) on contemporary collections in their respective locations and presenting these collaborations as an audiovisual series, a new space is offered to reflect on the current state of cultural economies, institutional community engagement and emerging subcultural forms and their intersections.

Sarah Sweeney - The Forgetting Machine

The Forgetting Machine is a proposed iOS application that works within the field of social psychology and memory science. This project imagines a space in which the reconsolidation theory discussed by Jonah Lehrer governs not only our physical memories but the prosthetic memory objects stored in our archives. This project mimics the materiality of analog objects by destroying digital files a little bit each time they are accessed.

Brenna Murphy - Expanding Labyrinth

For the past two years, I have been steadily weaving a digital labyrinth for meditation and exploration. The labyrinth is carved into the shared netscape through a series of linked web pages that contain talismanic arrangements of images, videos and sounds. All of the work is generated from my daily creative experimentation with computer graphics programs. For me, graphics programs are spiritual tools that allow one to psychedelically engage with the fabric of reality. I'm deeply committed to pushing the innovative possibilities inherent in these contemporary folk art tools. My labyrinth of pages is an active public record of my explorations. I propose to direct a rhizome commission toward the expansion of this project over the course of the next year. I am requesting a monthly salary to support me in this full time endeavor.

Adam Harvey - Dark Objects

This project will explore the aesthetics of visual obscurity in an era of machine learning and computer vision. The result of this exploration will be the production of a series of objects for human eyes only: objects that cannot be recognized by computer vision, but can still be recognized by humans.

Kenyatta Cheese - The Project for the Study of Corporate Personhood

The Project for Corporate Personhood (aka Kenyatta Co) is a three month performance that explores the topic of identity at a moment when the language and ideas typically confined to product marketing have their way into the realm of everyday life.

Kenyatta Cheese (creator of Know Your Meme, also a person) will sell the exclusive use of his name to a corporation for a period of three months. That corporation will assume both the real world and online identity of 'Kenyatta Cheese' the person, remaining him as a brand with the help of ethnographers, lawyers, focus groups, a creative agency, and friends and acquaintances. The corporation will develop 'Kenyatta Cheese' as a product and take it to market, franchising his personhood for the remainder.  Meanwhile, Kenyatta (the person) will not be able to use his name except in the case of emergencies and air travel. 

Ann Hirsch - Playground 

I was one of these children wandering in the "pedophile’s playground", as Dr. Phil calls it. When I was thirteen I became involved online with an older, twenty seven year-old male. We would have naive versions of cyber sex and phone sex because I had no idea what masturbation or orgasms really were. He tried to teach me and eventually I got a "real world" sexual education. We also shared a level of intimacy I had never shared with anyone before. He confided in me about his muscular dystrophy, which would confine him to a wheelchair for the rest of his potentially short life as well as his resulting offline social shortcomings. At the time, I knew he would be classified as a pedophile but he was also my best friend, my confidant. He also respected my real world privacy and never asked where I lived, who my parents were, what school I went to. But he would often use the intimacy we had to convince me to cross lines I wasn't comfortable with and as I grew older, I realized I needed to pull away from this unhealthy relationship.

I want to create a performance piece based on this experience. It was a complex relationship, that I am not alone in experiencing. However, because of the taboos and technologies involved it's a relationship rarely portrayed in culture. I would cast and hire a young girl as a stand in for myself, and a man in his late twenties to play my online ex-boyfriend. They will sit across from one another and over the course of about thirty minutes, type out to one another a live chat, while their voices, pre recorded, will speak the lines of chat as they type them. The chat will be projected live for the audience to see and it will be a narrative of their relationship. It will start off innocent, as my own relationship with the older man did and become more and more sexual as the younger girl becomes more comfortable with the man and more curious about what he can teach her about sex. The goal is to humanize both the man and the girl in their relationship, with both of them taking something from the other while being exploited. The performance will be documented as a video and sound piece.

Member Awards:

Jeff Thompson - Computers on Law & Order

Starting in 1990, spanning 456 episodes and 20 seasons, “Law & Order” has no peers when it comes to following cultural and political trends through popular media. Because of its particular time, one of the clearest shifts during the show’s run is our relationship to technology.

I propose to create an extensive blog documenting computer use on "Law & Order". Over the course of the series, computers begin to appear the background of offices, then actors begin actively using them onscreen. Crimes using computers, BBS systems, email, and databases start to appear. Internet and email communication become norms, and as the show closes in 2010 mobile computing is in constant use.

Jessica Parris Westbrook and Adam Trowbridge - free and open source textBook/toolKit for art foundations

We are working on a free and open source “textbook/toolkit" that addresses the need to teach, contextualize, and share a wide array of contemporary media (art + design + social practice) skills in the first year of college (or earlier) using project scenarios that integrate technology and studio practice(s) in contemporary meaningful ways.  

We believe that as companies like Apple turn from education and full operating systems to iDevice designed for consumption and as megacorporations like NBC Universal (Comcast GE) abandon support for any sort of open Internet in favor of intellectual property control, young artists should be introduced to the technologies and approaches behind the constant manipulative media stream they are subject to from birth and should have some agency in making digital art and design work free of corporate influence and constraints. 

The textbook/toolkit will address and include both technical topics (e.g. what are vectors, how can you set up an ad hoc mobile network, etc) and conceptual approaches (e.g. social networking sites as control structures, media literacy, history of the internets, new forms and materials, etc) as well as language and resources for going further with skills and ideas. This textbook can be used as a reliable point of reference for those of us who need to develop and design scalable responsive curriculum for beginners. Our goal is to design for artists and teachers, in a format that is accessible to a very wide demographic, and friendly to all levels of learning.



Prosthetic Knowledge Picks: Digital Graffiti


Animation clip from "BONUS ROUND: REVOK VS GIANT" by Diego Bergia [PK]

A collection of items from the Prosthetic Knowledge Tumblr archive and around the web, around the theme of 'Digital Graffiti' 


Berlin-based street artist uses QR Codes in his work, such as his Graffyard project, which is part archive, part graffiti work which accesses photographs of removed graffiti:
I am using QR Codes to preserve graffiti for posterity by photographing the graffiti before it is removed. After the graffiti has been cleaned off by the local authorities or building owners i place a QR Code in the exact location which resolves to an image of the original. In that way a mobile phone with a QR-Code Reader can be used to travel back in time.

Video of artist
Artist's Website


Project invovles machine which creates images on walls by firing accurately firing paintballs onto the surface: 

The Facadeprinter is a simple robot. Its purpose: shooting out large scale graphics onto walls. Calculating movements based on digital artwork, software controlled motors position an airpressure-marker to fire thousands of colorballs and print the work on a distant surface. The artwork grows dot by dot, like the drawing of a magic pen. An inkjet-printer in architectonical dimensions.

PK Link
Project Website

Free Art Technology

F.A.T. have produced various projects merging graffiti with new technologies, such as: 

QR Code Stenciler 

" ... a free, fully-automated utility which converts QR codes into vector-based stencil patterns suitable for laser-cutting ... "

PK Link
Project Page

Graffiti Markup Language
Graffiti Markup Language (.gml) is a universal, XML based, open file format designed to store graffiti motion data (x and y coordinates and time). The format is designed to maximize readability and ease of implementation, even for hobbyist ...