A small but international group show organized by Mireille Bourgeois and Anais Lellouche, "They Told You So" takes its inspiration from the Situationists’ concept of détournement, reusing existing media to convey an opposing or alternate viewpoint. Here sound installation and video are the primary forms utilized. Purporting to address and ensnare the viewer, and using deliberate miscommunication to examine rhetoric and technologies that are oriented towards control, the works achieve varying degrees of success.
As the niche genre of software art expands beyond the web and into mobile devices, media artists are finding ways to integrate their work into a new form of business model. Instead of giving away your work for free on the web, Apple's iPhone and iTouch devices provide an ample platform for distribution (through the Apple App Store) and hardware support for novel ways to experience screen-based work.
"After having a conversation on the phone with Burroughs in 1968, Giorno initiated the Dial-A-Poem Poets concept, which he claimed would later influence the creation of information services creation over the telephone, such as sports and stock market. Fifteen phone lines were connected with individual answering machines: people would call Giorno Poetry Systems and listen to a poem they were offered from fragments of various live recordings. Dial-A-Poem, from 1969 on, was very successful, with 9 a.m. to 5 p.m. and 8.30 p.m. to 11.30 p.m. peaks. GPS used a variety of social issues at the time, what with the sexual revolution and the Vietnam War, which would create appeal as well as shock from the reactive community.
This month I’m traveling through southeastern Europe from Venice to Athens, where I’m looking at art and blogging. Part one of the travelogue is about Ljubljana, Slovenia.
Before the Internet Pavilion, there was the first meeting of nettime at the 1995 Venice Biennale. Vuk Ćosić, one of the core participants, told me about it over lunch in Ljubljana last week. Internet theorists and artists gathered for three days of discussion just upstairs from Club Berlin, a non-stop rave where art stars worked the bar. “I remember Joseph Kosuth handing me a beer,” Ćosić said.
The rave was a recurring theme of the four days I spent in Slovenia, and there seemed to be more to it than the Slavs’ enduring love for techno. My visit happened to coincide with the opening night of Sonica, a sound art festival, and the kickoff featured Andi Studer and Matt Spendlove’s Netaudio Ping Pong, where two players build dance music by taking turns at composing four-bar phrases on mixers installed on two ends of a ping-pong table. Škuc, a gallery that has been showcasing progressive art since 1978, was hosting a “live archive” of Slovenian video art from the 1980s and 1990s, and I spent an hour watching works by Mirko Simic, including distillations of his veejay acts at parties fifteen years ago. On Wednesday night, Luka Prinčič performed at a small theater in a university’s basement; between the somber, wordy beginning and end, he danced himself into a sweat wearing silver tights and sparkling tank top. The next night, after a presentation at Kiberpipa where he demonstrated his Puredata modification that introduces elements of probability to the dance tracks he writes to accompany his ...
"DG: So just to clarify, you and John Cale took the side of contingency, materialism, and cultural and historical specificity, and La Monte Young and his supporters took the side of permanence, ‘the eternal’ and that which transcends culture and history.
TC: Right. Which led me to become engaged in a reflection on the intersection between idealism in Western philosophical thought and in Western cultural tradition on the one hand, and on the other hand power relations - since our controversy was largely lodged in the context of a legalistic formulation. What about our Greek roots? What about Pythagoras? What about theories of music that had to do with numerology? This ensnared me in a set of concerns around the text of history. To answer your question more directly, the substratum of my current interests, and those that have held my attention most over the last few decades, has to do with the way in which the historical record can become the narrative. On the sound side, this process was really rich, and it branched out. I began to tell myself odd things, like modern physics had been generated as a branch of music. The power conditions in the Western orchestra had their roots in the same conditions as modern state bureaucracies and military drill practices. This gives rise to an analysis of how power is transacted that is not inconsistent with Foucault’s theories, but culturally modulated in a different way."