nicholas economos
Since the beginning
Works in Shaker Heights, Ohio United States of America

Nicholas Economos is an artist and educator living in sunny Cleveland, Ohio, USA. His art practice includes work in software art, reactive media art, sound, video, and animation. He is an Editor Emeritus for at The New Museum of Contemporary Art in NYC, previously editing content for the web site and the Rhizome Rare email list over numerous years. His awards include an Individual Artist Project Grant in Film, Media, and New Technology Production from the New York State Council on the Arts and an Individual Excellence Award in Media Arts from the Ohio Arts Council.

He has exhibited at Art Interactive in Cambridge, MA, Hallwalls Contemporary Art Center in Buffalo, NY, Art in General in New York City, Fylkingen in Stockholm, Contemporary Arts Center in Cincinnati, SESI Gallery in Sao Paulo City, Window Project Space in Auckland, New Zealand, Visual Studies Workshop in Rochester, Chiangmai New Media Art Festival in Thailand, DigiFest DXNet in Toronto, and the Cyberarts Festival in Boston. He has been a frequent artist-in-residence at the Experimental Television Center in Owego, New York and is included in the DVD anthology, "ETC: 1969 - 2009" covering 40 years of video arts at ETC. He was previously a visiting professor with the Department of Expanded Media at the School of Art and Design at Alfred University in Alfred, NY and now teaches in the T.I.M.E.-Digital Arts Department at The Cleveland Institute of Art.

Jan 30: Loud Objects, Zach Layton, Sawako live at the Gershwin

Tuesday, Jan 30: curated by Neke Carson, Loud Objects (Tristan Perich, Kunal Gupta, Katie Shima) will be joined by sine-wave sensualist Zach Layton at the Gershwin Hotel, a place that has been home to many artists in the past. The Loud Objects -- working with smoking soldering irons on an overhead projector -- wire up live musical circuits, manipulating electronic music. Zach Layton will accompany this dense soundtrack with an enveloping sonic fabric woven out of pure sinusoidal oscillations. Beautiful miss sound-scape Sawako will open the night, so please don't be late!

Jan 30, 2007, 8PM
Gershwin Hotel
7 E. 27th (between 5th Ave and Madison)
$10/$5 student

Loud Objects -
Zach Layton -
Sawako -
Gershwin Hotel -



M U L T I M E D I A L E p r e v i e w

M a r k C o o l e y | A r t i s t T a l k

I n t r o d u c t i o n b y M u l t i m e d i a l e c u r a t

o r N i e l s V a n T o m m e
c u r a t o r ' s o f f i c e
t h u r s d a y, j a n u a r y 1 8 7 p m

curator's office
1515 14th street nw
suite 201
washington, dc 20005


curator's office is pleased to present a free preview program for
the upcoming Multimediale festival in April of 2007. Mark Cooley is a new genre artist interested in exploring politics,
economics, power, identity, and visual rhetoric in American popular
culture. His work has been shown internationally in online and
offline venues such as Exit Art, Postmasters Gallery, and

Multimediale is an innovative four day new media art festival
curated by Niels Van Tomme that brings together a multiplicity of
people and ideas around the theme, ‘Art as Mediation’. The festival
will run April 19-23, 2007 and will be headquartered at Provisions
Library and American University, Washington DC. (online soon)

Called the hippest tiniest gallery in town by Jeffry Cudlin of "The

Washington City Paper", curator's office is a micro-gallery

dedicated to presenting progressive works and ideas.

But we are a small space, so RSVPs are essential.
info@curatorsoffice ...


Exibition Piemonte Share Festival2007

Event: “Piemonte Share Festival 2007” Festival of culture and arts linked to the new media and digital technologies When: from Tuesday, 23rd January to Sunday, 28th January 2007 Where: Accademia Albertina di Belle Arti main premises Via Accademia Albertina, 6 - Torino website: e.mail

INAUGURATION: Accademia Albertina Tuesday 23rd January 2007 from 6 to 10 pm With aperitif and live performances

EXHIBITION: Share Award 2007 From Wednesday 24th to Sunday 28th January 2007 Accademia Albertina Wednesday, Thursday, Friday from: 10 am – 8 pm /Saturday, Sunday from: 2 –8 pm

The works of the six Share Prize 2007 finalists will be exhibited in the Accademia Albertina exhibition rooms. The works that have been selected for the final phase are: [more...]


Hz #9

Hz #9 presents:


THE COMPOSITION-INSTRUMENT: MUSICAL EMERGENCE AND INTERACTION by Nobert Herber Composer and sound artist Nobert Herber explores the question "What kinds of compositional technique can be used to create a music" in the field of computer games and interactive digital media where the line between "composition" and "instrument" is increasingly blurred.

LeWITT’S IDEAL CHILDREN by Domenico Quaranta "Software art is conceptual art's acknowledged son" is the hypothesis around which art critic and curator Domenico Quaranta builds his anyalisis on genealogy of software art: "Is the history of conceptual art relevant to the idea of software as art?"

DISSONANCE, SEX AND NOISE: (RE)BUILDING (HI)STORIES OF ELECTROACOUSTIC MUSIC by Miguel Álvarez Fernández Composer, musicologist and curator Miguel Álvarez Fernández deconstructs the reading of history of electroacoustic music through the concepts of dissonance and noise.

BEHIND TECHNOLOGY: SAMPLING, COPYLEFT, WIKIPEDIA AND TRANSFORMATION OF AUTHORSHIP AND CULTURE IN DIGITAL MEDIA by Sachiko Hayashi With sampling as starting point, artist Sachiko Hayashi relocates several issues relevant to the culture of digital media.*

OPENING UP PUBLIC SPACE by Art Clay By "using wearable computing technology within global ubiquitous networks as an art tool," sound artist Art Clay's new project "China Gate" opens up our civic space for "one of the most important functions of public performance: social interaction."

TIME AND REAL-TIME IN ONLINE ART by Ewa Wojtowicz "If there is a navigable cyberspace – does it imply navigable time as well?" New Media Art historian Ewa Wojtowicz examines net art practice that employs time from various perspectives.

[Hz Net Gallery]


15x15 by Richard Vickers

CITYSNAPPER_5[BERLIN] by Olivier Vanderaa


{TRANSCRIPTION} by Michael Takeo Magrude

Hz is an on-line journal published by the non-profit art organization ...


NOW: Meetings in the Present Continuous

NOW is a working platform that will take place at the CCCB from 2006 to 2009. The project reflects on the present on the basis of the scientific, technological, artistic, social and spiritual transformations taking place at the start of the 21st century — because today it is no longer possible to explain art and culture without interiorizing scientific concepts and working with a systemic view of the world.

NOW is a process of research, creation and diffusion bringing together different local and international agents involved in promoting a change of paradigm in the information and knowledge society and in globalized cultures


Discussions (28) Opportunities (0) Events (3) Jobs (0)


> heee, thanks. I needed that.


Re:Diane Ludin talks with Prema Murthy

>Here's Diane Ludin's interview from
Mythic Hybrid
Diane Ludin talks with Prema Murthy about her
latest project for Turbulence
by Diane Ludin - 01/14/2003

"A cyborg is a cybernetic organism, a hybrid of
machine and organism, a creature of social
reality as well as a creature of fiction.
Social reality is lived social relations, our
most important political construction, a
world-changing fiction. The international
women's movements have constructed "women's
experience," as well as uncovered or discovered
this crucial collective object. This experience
is a fiction and fact of the most crucial,
political kind. Liberation rests on the
construction of the consciousness, the
imaginative apprehension, of oppression, and so
of possibility."

Donna Haraway, "A Cyborg Manifesto:
Science, Technology, and
Socialist-Feminism in the Late
Twentieth Century"

Diane Ludin: The title of your latest work,
Mythic Hybrid, can be considered a resonant
term to summarize the promise of technology as
relates to the internet. Does this title refer
to the technology that you are using to
broadcast your content or is it focused on the
subject matter alone?

Prema Murthy: I'm interested in exploring
concepts through various technological "lenses"
or "filters," so the medium for me is not
separated from the subject matter. It becomes
part of the content as it also gives it its
form. I am as interested in examining the
formal boundaries of digital media as I am in
exploring various social or cultural contexts
out of which specific media are constructed.
For this project, I wanted to reinvoke the
words "mythic hybrid," a term coined by Donna
Haraway over ten years ago, to call to mind a
second reading of some of the ideas proposed in
her "Cyborg Manifesto." My project, as the term
implies, is meant to examine collective
narrative as fiction as well as complicate the
word "hybrid," which by now has become a cliche
when talking about the products of
human/machine couplings.

Q: When we look at this piece, are we looking
at real-time returns from the internet, framed
within your filtering structure, or rather at a
select record of search results?

A: The entire project has been constructed of
pieces I collected while on a search to find
out about the lives of a group of women working
in micro-electronics factories in India who
were reported to have had collective
hallucinations. The project mimics the form of
a search engine. It is not meant to present one
"truthful" viewpoint in any way, but rather
multiple perspectives brought together to form
a story.

Q: What do you think of the notion that the
internet is a medium for tracing the social
unconscious, as implied by the Google

A: The Internet has an emptiness about it in
the way I think the unconscious does. It is
like a shell in which information is stored,
deleted, retrieved, transfigured -- like
memories, obsessions, dreams, fears. It is also
the product of a racist, male-dominated,
military-entertainment-industrial complex,
which has undoubtedly left its mark on the
medium as well.

Q: You've been drawing on concepts from Donna
Haraway's work for some time now. How has your
approach to her work evolved over time? Could
you summarize some of your favorite themes from
her work? Has creating this work changed your
understanding of Haraway's concept of the
mythic hybrid?

A: When I first read "The Cyborg Manifesto," I
was excited by the way it challenged dualistic
modes of categorization and called for an
integration of mind and body, nature and
culture, organism and machine, imagination and
material reality. It urged women to embrace new
technologies to disrupt the established order
and acknowledged the role of third world women
as integral to (cyber)feminism and the global
economy. It seemed quite radical at the time,
as a starting point. Since then, it seems some
of its initial radicality has been forgotten
and it has become absorbed more into the
mainstream of fashion and proto-hippy culture.
In retrospect, the concept of the mythic hybrid
seems to lack a realistic consideration of the
difficulties involved with hybridization and
takes a very "optimistic" approach to
contestation through creativity and the

Q: What were some of the hopes you initially
had for cyberfeminism that haven't been

A: The cyberfeminist movement seems to have
carried over a lack of concern for issues of
race, for which the second wave of US American
feminism was critiqued. There are online forums
for discussion, like the Undercurrents listserv
that has been explicit in its mission to
discuss these issues, but outside of that I
find that it is a fragmented movement. It has
made me rethink the importance of resistance
and transformation on many levels, through
political movements and organization, as well
as through micropolitics, pockets of disruption
specific to certain regions, invisible warfare,

Q: What relationships do you now draw between
the labor that builds computers -- which we
rarely consider -- and the hallucinatory
experiences that originally interested you in
the factory realities of the workers we watch
in the Quicktime movies?

A: The myth of a group of factory workers
driven mad by their working conditions, social
environments and an over-sensitivity to all
things supernatural was shattered upon meeting
women who were struggling, yes, but in quite
sane, rational, strong-minded, yet still
creative ways.


Joseph Nechvatal on "Ce qui arrive" / "Unknown Quantity"

Sat Nov 30, 2002 00:00 - Sat Nov 30, 2002

Review of Paul Viriliois "Ce qui arrive" / "Unknown Quantity" at the
Fondation Cartier pour l'art contemporain, Paris
by Joseph Nechvatal

The avowed aim of the Fondation Cartier exhibition "Ce qui arrive" (What is
Coming) (The English title however is inexplicably "Unknown Quantity") n
which was organized by the now famously reactionary techophobe Paul Virilio
- is that "the principle of responsibility to future generations requires
that we expose accidents now, and the frequency of their industrial and
postindustrial repetition." What is obvious in this highly controlled and
academic exhibition "on the theme of accidents" is that this claim of
"responsibility" is fraudulent. Most of the exhibition is deeply
irresponsible. The word dreadful adequately describes it.

Precisely, the bulk of this show is dreadfully irresponsible in its
appropriation of the 9_11 attack on New York City. As a downtown New Yorker
who experienced daily these ruins (thank god the horrid smell could not be
reproduced and exploited here) I was offended by how facile is the show. It
is really a vapid presentation in that it aims to teach us that eshit
happensi. Do we really have to dress this recognition up in priestly black
profundity and pretend it is art?

Not only does "Ce qui arrive" / "Unknown Quantity" irresponsibly lump the
9_11 attack into a "museum of accidents" (it was no accident) it wallows in
the pathetic tropes of Romanticism by inviting us to contemplate the smoky
ruins of the 9_11_01 World Trade Center attack. Prominently featured was
Tony Oursleris footage of the fuming ruins, as it is the first thing we sees
projected large when we descend into the downstairs "Museum of Accidents".
Also included was 9_11 footage shot from a Brooklyn roof by Moira Tierney
and a re-packaged "best of" 24 hour selection of Wolfgang Staehleis live
web-cam which captured from afar the 9_11 attack and aftermath ("2001") n
here now striped of its scale, neutrality and live immediacy.

For me, such apocalyptic-chic imagery is congruent with that of the fervent
Romanticism of Turner, Constable and Friedrich. Indeed the whole show reeks
of Romanticism - that cultural movement (circa 1795-1840) inspired by the
writings of Edmund Burke and the French philosopher Jean Jacques Rousseau,
as it focuses not on individual passions and inner struggles or joys but on
fearfully transcendent ebig picturei dramatic performances n what are
essentially extenuations of Romanticismis Romantic Sublime.

Indeed, "Ce qui arrive" / "Unknown Quantity" claims in its expensive glossy
catalogue that it attempts to explore Paul Virilio's most recent writings of
the subject of the increasing development of accidents as an indirect
consequence of man's inventions. But in the show one thinks more often to
the writings of Friedrich Wilhelm Josef von Schelling, Friedrich von
Schlegel, Johann Gottlieb Fichte, and Novalis (the nom de plume used by
Baron Friedrich Ludwig Von Hardenberg). Or even S



>worth the wait! I have a dial-up and am letting them load between cups of coffee.


Re: real life??

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go to: