Nowhere is a three-dimensional milling machine that carves a landscape relief on a 70x70x10cm large block of hard foam. The machine receives a stream of live search requests from the german search engines metager and metager2 (www.metager.de) via the internet. The users search movements erode rivers and canyons on the surface. Search requests that shoot through the internet just for a fraction of a second and generate an answer on the searchers screen, cause the machine to write a constant growing sculpture into the space. The continuous stream of changing search requests defines form and rhythm of this process.
This loss of trust in humanoid media is accompanied by a new silence in the dialogue between master and servant. The language that is directed at the servant becomes terse. The previously still cultivated courtly official style gives way to short commands. The example of these commands reveals what has becomes apparent: communication has become machine language. William Thackeray even brags about this in 1850: “We never speak a word to the servant who waits on us for twenty years.” After its high point in the eighteenth century, communications between lords and servants seem to have come to a standstill. “In the Victorian household, there is an impression of increased silence.” What causes this silence? Something bisects the old human-human interface. The transition from listening to dumb waiter hints at the cause: the nineteenth century is a time in which the most varied services are transferred to technical media, which in their telematic, indirect, oblique communicative abilities replace the personal conversation with a depersonalized understanding. In this gradual but nonetheless comprehensive process of transferal may lie a reason why the corporation AskJeeves ultimately decided to abandon the imagery of the servant.
But why are these functional characteristics of various facets of domestic service relevant? Within those facets of the servant that elevate him or her to be the center of information gathering and dissemination is hidden a comparison with the service portfolio of a search engine. Thereby one may demonstrate how thoroughly the knowledge of search engines as well as domestics can be assessed. On the other hand, the implicit juxtaposition of servant and search engine susses out Jeeves, forcing one to pursue the question of the plausibility of the metaphor. The privileged knowledge of domestics feeds not only off their activity as messengers but also off their roles as ...
In this short clip, Vernissage TV covers a new exhibition curated by Raffael Dörig, "Surfing Club," now on view at plug.in in Basel, Switzerland. The show features work by the artists involved in the surfing clubs Nasty Nets, Spirit Surfers, Loshadka, Club Internet and VVORK -- many of them regulars right here on the Rhizome blog. Check it out!
Live video installation constructed out of altered found objects, lazer prints from ebay and blogs, mirrors, wood, and foamcore. This piece includes a video camera that broadcasts live images to a monitor at its base. A viewer observing the sculpture is captured by the video camera, and then is able to see an altered version of themselves (via a video mixer) on the monitor.
Eilis McDonald's Rapture Heap is a multi-phased project that centres around the occupation of one of Dublin's many empty retail spaces. The first installment of the project saw McDonald curate an exhibition that highlighted the artists that influence her and brought to Ireland some of today's most prominent internet based artists (http://www.raptureheap.com/v1). "Back to Reality" is the second installment of the series. Here McDonald delivers a body of work that is a result of her 6 month residency in the retail space. Commissioned under the Per Cent for Art Scheme for Dublin City Council’s Liberty Corner, the residency period afforded the artist time and space to explore the wealth of diverse activity in the surrounding area - from the various cultural institutions, such as the LAB and DanceHouse, to the Buddhist Centre, €2 shops, financial institutions, beauty salons and 24-hour internet cafés. With this particular urban spectrum serving as her backdrop, McDonald searches for the sublime and ethereal by seeking out the spiritual and subliminal. McDonald recontextualises the discarded artefacts of the local domesticity found in charity shops and fuses them with video assemblages that include a transient public contacted through advertising and classifieds in the CityAds Weekly newspaper. "Back to Reality"; the research phase of the Rapture Heap project brings together a number of varied strands of interests and motivations. The projects future online presence provides access to a broad national and international public and an opportunity to relate to a wider demographic, while the installation provides a visceral, immersive physical environment. "Back to Reality" presents a story-thus-far in preparation for the 3rd installment of the Rapture Heap Project.
Gene McHugh, Rhizome's former Editorial Fellow and a periodic contributor to the site, received the Creative Capital | Andy Warhol Foundation Arts’ Writers Grant earlier this year and has used these funds to begin the "Post Internet" blog. His project aims to build a space to reflect on "...art responding to an existential condition that may also be described as 'Post Internet'-when the Internet is less a novelty and more a banality. Perhaps this is closer to what Guthrie Lonergan described as 'Internet Aware'-a term that I’m sure I will be thinking through here sooner or later." The blog is essentially a bare-bones workspace for his loose, often train-of-thought musings on contemporary internet-based art, and covers everything from Google's Parisian Love ad to Seth Price.