Focusing on a wide array of themes such as the context of a rapidly changing planet, our evolving human / natural ecosystem, the growing global strain on natural resources, and the advancement of artistic methods on potential of technological infrastructures, the 10th edition of the FutureSonic festival spanning 14 years integrated a wide and impressive array of international speakers, workshops, exhibitions, and performances. Scattered around the bustling city of Manchester in the United Kingdom, the festival took into account both its local strengths and its global outreach to encourage debate and showcase a wide arrange of artistic projects that examined just how far we have come in these debates and how far we have to go to make sense of the evolving technological apparatus that surrounds us.
The images from the Spam Architecture series are generated by a computer program that accepts as input, junk email. Various patterns, keywords and rhythms found in the text are translated into three-dimensional modeling gestures.
287 products from an online medication website arranged by hue using a Fermat Spiral pattern
Rhizome is pleased to announce the launch of “Splashback: Rhizome’s Splash Pages, 1998-2002,” an online exhibition featuring the 39 splash pages commissioned over a four-year period. “Splashback” offers a brief overview of online art and design practices from ten years ago through a nearly obsolete medium, the splash page.
Artists include: Annie Abrahams, Daniel Garcia Andujar, Ben Benjamin, heath bunting, Gregory Chatonsky, Shu Lea Cheang, Andrew Childs, Curt Cloninger, David Crawford, Mark Daggett, Joshua Davis, entropy8zuper, Andrew Forbes, Valery Grancher, Matthew Hoessli, Olia Lialina, David Lindeman, jimpunk, JODI, Yael Kanarek, Lucas Kuzma, Antonio Mendoza, Mouchette, MTAA, Robbin Murphy, Nettmedia, Scott Paterson, Pavu, Waldemar Pranckiewicz, Reinis, Satellite01, Sigma6, Starry Night, Eugene Thacker, Jake Tilson, Maciej Wisniewski, Young-Hae Chang Heavy Industries
“Splashback” is organized by Brian Droitcour, Rhizome Curatorial Fellow.
Site built by Elise Roedenbeck, Technology Assistant.
Several years ago, while making the lecture circuit rounds, American architect William Massie described a key goal within his practice as moving towards a more direct translation between bits and atoms. Architecture has always thrived on the tension between representation and material assemblages and what he was addressing with this comment was the dawning of an era characterized by a new proximity between digital models and physical output. In selected contexts, artists, architects, and designers have been exploring these accelerated development cycles for a decade but the involved technologies are descending in price so quickly that, for example, 3D printers are now cheaper than laser printers were in 1985. A key question: how does the looming ubiquity of these tools and workflows apply to the production and display of new media art? This article will explore digital fabrication (aka fabbing) at a variety of scales which include the curatorial questions raised by these new hybrid industrial design/sculpture objects as well as the implications on the practice of individual artists. Before delving into either of these milieus it would be useful to acknowledge some common language and terminology associated with fabrication and recognize some important precedents.
"World Flag icons without smooth distortion, created for a better knowledge of other countries."
Flipbook depicting digital ephemera from animated gifs
Cassette loops with midi versions of the originals
Artist's statement: I Heart Clipart is about the things that came about with the advent of computers and technology in relationship to visual aesthetics. In a culture that is constantly oscillating, an emerging world of digital images resulted in the response of the handmade (particularly with lettering). This project was an exploration into the balance of this particular dichotomy and how various reversals could take place between the various ideologies of digital and analog aesthetics. It is also, in a significant part, a product of nostalgia.
The result was a collection of various explorations: Posters of hand-drawn cliparts or paper-based geometric shapes made to resemble 3d renderings, flipbooks of animated gifs, Susan Kare's hourglass or progress bars, a cassette player in a paper/cardboard case and cassette loops featuring midi versions dubbed overtop the originals and more...