Tumbarumba (2008) - Ethan Ham and Benjamin Rosenbaum


Tumbarumba is a frolic of intrusions—a conceptual artwork in the form of a Firefox extension. Tumbarumba hides stories—twelve new stories by outstanding authors—where you least expect to find them, turning your everyday web browsing into a strange journey.



China Channel (2008) - Aram Bartholl, Evan Roth and Tobias Leingruber


China Channel Screencast from Evan Roth on Vimeo.

Experience the censored Chinese internet at home!

The Firefox add-on China Channel offers internet users outside China to surf the web as if they were in China. Take an unforgetable virtual trip to China and experience the technical expertise of the Chinese Ministry of Information Industry (supported by western companies). It's open source, free and easy.



F1 Racer Mod (2004) - Cory Arcangel



This is a simple mod I did of the old Japanese famicom driving game F1 Racer. Basically I just took out the game, cars, etc, and left the road.





This essay originated from the anthology DATA browser 04: Creating Insecurity: art and culture in the age of security edited by Wolfgang Sützl and Geoff Cox. The book was published by Autonomedia this year and is licensed under Creative Commons.

Where does security end, and insecurity begin? Systems analysts recognise this as a classic boundary question. Its answer determines the precise deployment of any security system. But as we shall see, this particular boundary question cannot be answered under present conditions, except through the definition of a second system, a specifically interrogatory one. Drawing on the work of an American art critic of the 1960s, I’ll call this second kind of bounded entity an ‘aesthetic system’.


On Tour


Image: Kosmoplovci, P3225504-procesor, from the series “Fragments”

In June I traveled through southeastern Europe from Venice to Athens, where I’m looking at art and blogging. Part three of the travelogue is about Belgrade, Serbia.

With a population of two million, Belgrade is twice as big as Zagreb, which is thrice as big as Ljubljana, but the sizes of these three cities have a paradoxically inverse relationship to their cultural infrastructure, particularly at the intersection of art and technology. While little Ljubljana had enough events to fill my schedule for four days, Zagreb’s handful of galleries were in a summer slumber. But organizations were actually there, even if hibernating, while Belgrade had nothing. Many attributed that to the smaller country’s attempt to find a niche or a brand for itself in Europe’s crowded contemporary art world. “New media in Slovenia was as a more or less organized way of deterritorialization from the ex-Yugoslavian context, a systematic attempt ‘to be more serious than the system itself,’" said Maja Ciric, a Serbian curator, citing Zizek. “But in Belgrade the new media paradigm is self-driven and performed individually.”



Image: Kosmoplovci, stills from Satelitska Stanica

Belgrade had a small but active demoscene in the 1990s, which gave rise to one of the most interesting art collectives in the former Yugoslavia, Kosmoplovci (pronounced “kos-mo-PLOV-tsee”). The name means something like astronauts or space sailors, and comes from a 1970s do-it-yourself science and technology magazine that some demoscene friends found at a flea market in the early ‘90s. The members of Kosmoplovci are fond of rummaging through the past, and their varied output—which includes internet works, videos, music, comics, and books—usually involves allusion and found media. Satelitska Stanica is based on an old 8mm film extolling a joint project with Japan to ...


Interview with JODI


dateThu, Apr 2, 2009 at 3:07 AM
subjectdodo ¿ǝɯozıɥɹ ɹoɟ ʍǝıʌɹǝʇuı :ǝɹ

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Join us Saturday March 21st at 3pm for this month's New Silent Series event:

Experimental Geography Panel Discussion: An Aesthetic Investigation of Space
Saturday, March 21st, 3pm at
the New Museum, New York, NY
Buy Tickets

Creative Time curator Nato Thompson will lead a discussion on Experimental Geography with Lize Mogel and Damon Rich, two artists who participated in his exhibition (for Independent Curators International) and book (Melville House) of the same name.

The discussion will focus on the creative use of landscape hacking, cartography, locative media, and radical urbanism as a means of engaging with the politics of contested spaces. In presenting work from the show and book, the panelists will explore the distinctions between geographical study and artistic experience of the earth, and the juncture where the two realms collide.

The panel is organized and hosted by Rhizome Contributing Editor and Columnist, Marisa Olson.


The Fall of the Site of Marsha (1998)



By Rob Wittig, Patric King, with Rick Valicenti


Blinking Lights


"There is a certain beauty in trying to fulfill the potential of the obsolete. As we have become a culture that is defined by the latest and greatest, and at the same time built in obsoleteness. Why are we in such a hurry to progress when we haven't realized the potential of what we have, where is this thing called progress taking us?"

This anxious quandary, posed by artist Mike Beradino, elucidates the concept behind his use of outmoded technologies. The New York-based artist has created several works that reflect upon the rapid consumption of technology, where a piece of software or hardware is embraced one moment and tossed out the very next. His lo-fi, 8X18 LED grid pieces, Liquid Pixels (2007) and blinken (2007), for example, employ the spirit of DIY, tinkering and the open source movement as a foil to an increasingly dense technological mediation within and throughout daily life. Liquid Pixels uses the LED display to create morphing patterns of ferrofluid, while blinken narrates a perverse, LED animation of a character free falling from a roof as clocks spin out of control. Beradino was inspired to create these LED pieces by the techno-primitive genre of "flashing/sparkling/blinking" art known as "Blinken" which, in 2001, emerged out of the German hacker community, Chaos Computer Club, who continue to remain active today via the BlinkenArea portal. The BlinkenArea hackers have developed a Blinken-centric operating system (BlinkOS), their own programming language (ARCADEmini Assembler), software for Blinken programs and animations, and a far-reaching manifesto for its role in "world domination," which includes an entertaining set of bullet points for achieving said domination. This auto-obsolescence as practiced by Beradino and the Blinken hackers may employ tongue-in-cheek rhetoric, but it could also be seen as an increasingly viable strategy of dissidence ...


Norwayweb (2007) by Bjorn Magnhildoen


Artist Bjorn Magnhildoen in Norwayweb creates a "carpet" made of numbers derived from Norwegian tax payer information. Accessing roughly 4 million databases via "web scraping", the "carpet" is immediately triggered upon each visit to the web site, forcing the visitor to become a participant in the collection and redistribution of "private" information. Magnhildoen comments, "While the police earlier put goal-oriented tasks to suspected individuals and groups, now the whole population will be surveilled."

Marc Garrett of Furtherfield wrote a fascinating review of the work last month where he discusses the piece within the context of widespread digital surveillance.