Rhizome ArtBase RSS

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Miyö Van Stenis — Mon, 06 Feb 2012 08:13:41 -0500

thefirstdayoftherestofyourlife.net

Michael Manning — Mon, 06 Feb 2012 08:13:36 -0500

mirrrroring.net

Michael Manning — Mon, 06 Feb 2012 08:13:33 -0500

Dither Studies

Daniel Temkin — Thu, 19 Jan 2012 14:50:44 -0500

Magnified 250 pixel-wide Dithers, displayed on-screen or as large prints.

Good Listeners

Mushon Zer-Aviv — Thu, 19 Jan 2012 14:50:42 -0500

We're Open Source While the lord may be hidden from us his guidance and his code are as transparent and clear as the sunshine. Peak under the robes of our CrossRider powered browser extension and see whether the good priest is indeed holding a cross and it's not because he's just happy to see you. The code is released under the MIT open source license which means you are welcomed to run, copy, distribute, study, change and improve the software. As for our privacy policy, we do not collect or use your data in any way other than to serve & update the plugin and we are working hard to optimize it so that eventually no network calls will be made on its behalf. If you run into issues you can report them here or better, if you write an improvement patch, we'd love to welcome you and your code into the lord's tent. Fork us on Github: https://github.com/zohararad/Good-Listeners

Buffer

Jacob Riddle — Thu, 05 Jan 2012 10:20:48 -0500

sentences on conceptual art in gridfont7

a bill miller — Thu, 05 Jan 2012 10:08:54 -0500

gridfont7 is a custom True Type Font created with FontForge and is available as a free download from the artist.

Bandwidth

Josh Nimoy — Thu, 08 Dec 2011 12:37:20 -0500

This interactive musical experience provides six original modes in which the player may produce music. Elements from the language of games are appropriated into a medley of six musical instruments between which the player can switch while exploring the piece. The software is written using OpenFrameworks, and the source code is made available on github under the creative commons license. Advanced configuration is possible by editing the contents of the bundled settings.yml. By changing the values of that file, you can control the window properties, startup behavior, user interface detail, and OSC network parameters. When set up on multiple machines, Bandwidth's 'grid' mode will broadcast OSC messages and most other modes will receive.

GAME ARTHRITIS

IOCOSE — Thu, 08 Dec 2011 12:37:14 -0500

What are the real effects of digital gaming to our fingers, hands, and bodies? The conformity of interfaces produces deformity. It’s a fact. Call it “the reality of the virtual”. Prolonged vicarious aggression lead to permanent physical disfiguration. Gaming activities produce real consequences for the users. Research has been conducted for years in several clinical laboratories across the globe but doctors and researchers are not willing to share their findings with the general population. However, evidence of new technologically-induced diseases is now becoming known outside of the scientific community. These pathologies - labeled collectively “Game arthritis” - are officially not “recognized”. The authorities have dismissed this hidden epidemic as “mass hysteria”. But according to some scientists - who speak under condition of anonymity fearing ostracization - these undiagnosed disorders are the psychopathology of ludic societies. Digital technology is indeed damaging users’ fingers, arms, postures… Even their DNA is compromised. Game arthritis is not supposed to exist. Game companies do not want to talk about it. Clinicians and dermatologists do not want to discuss it. Labs refuse to run tests. And yet, thousands of players manifest similar symptoms. Thousands of players feel real pain in their bodies. Affected subjects are not delusional. Photos and images are beginning to circulate on the internet. We have collected a few samples.

IHSE

esther hunziker — Thu, 08 Dec 2011 12:37:04 -0500

IHSE is a series of autonomous architectural buildings. Each photo shows a geometric figure, which overrides the forms of classical architecture. There is no roof nor a base, no top or bottom. The buildings float in the void. Architecture which looks like concrete capsules through which one can move into a different space-time continuum. The interactive online version of the photo series IHSE, responds to the mouse movements of the user. You hear a spherical, meditative sound in the background. Architectural buildings float slowly in empty space and endlessly multiply themselves out of themselves. They grow to a certain size until they divide into two. By moving the mouse the user can intervene in this process, slow down or accelerate the growth and turnaround the direction of the IHSE travel.

untitled landscape #5

leila christine nadir — Thu, 08 Dec 2011 12:37:00 -0500

An internet-based work commissioned by the Whitney Museum of American Art to inaugurate its new website in 2009 and to kick-start a new series of internet artworks titled Sunrise and Sunset, curated by Christiane Paul. “Untitled Landscape #5” investigates the disruption of technologies by human activity and natural phenomena. From November 2009 through March 2010, at sunrise and at sunset, flickering orbs of moving light “interrupted” the experience of users browsing the Museum’s website, their size and speed determined by the number of online visitors. Higher visitation resulted in larger, slower-moving orbs representing, in effect, the “environmental impact” of visitors to this online “landscape.” To see other works in the Sunrise/Sunset Series, visit http://whitney.org/Sunset.

VANITAS

k-u-n-s-t-k-a-m-m-e-r — Thu, 08 Dec 2011 12:36:50 -0500

VANITAS I (series VANITAS | digitally reinterpreted still life vanitas paintings)

artobjectculture

Emilie Gervais — Thu, 08 Dec 2011 12:36:37 -0500

artobjectculture invites two artists a month to curate or create new art objects from items preexisting in various online stores. POS. Works are available for purchase at the price listed in the caption below each artist’s piece, plus art object tax. Purchase price is determined by the total of all objects depicted and includes ownership of the archived work online. The purchaser’s name will be included in the directory url and all items will be sent to the purchaser’s residence. *Art object tax is a “value added” tax of 43% of the listed purchase price. submissions & inquiries info@artobjectculture.net

Mousetrap

Marotta & Russo — Thu, 08 Dec 2011 12:36:33 -0500

– Mousetrap – The trap is a gadget created and arranged to capture an animal. But the trap is the "mouse" itself. The mouse is able to cage the hand for a large part of the day in a few centimeters of space and in a handful of inches of light. The hand: the limb whose presence defines the man and whose absence defines the animal. www.spazioultra.org/en www.avatarproject.it

VVEBCAM

Petra Cortright — Fri, 21 Oct 2011 16:28:54 -0400

Originally published on YouTube in 2007, Petra Cortright's VVEBCAM highlights the conditions of watching video online. Her passive surveillance of her videoscreen is mirrored by the viewer's own experience at that very moment, who is necessarily also consuming online content as they watch the work. Cortright complicates the dynamic of disengaged onlooking, however, by inserting a collection of animations that flash across the video. Default effects taken from the $20 webcam she used to record the work, running the gamut from cats to lightning bolts, literally animate the otherwise nonactive scene. Her passive stare mixed with these flashing images lend the video a hypnotic quality, further accentuated by the background music, Ceephax's "Summer Frosby," playing in Cortright's iTunes as she filmed. Issues regarding how and where an artwork is displayed online, as well as the techniques used for its dissemination, are also alluded to in VVEBCAM's original YouTube version. Cortright includes with it an extensive and dizzying list of tags, luring users who happen to search for any of these terms––"Paris Hilton" or "ESPN", for example––to stumble upon this video, and thereafter mirror its enactment of passive viewership.

Freedom

Eva and Franco Mattes aka 0100101110101101.org — Sat, 15 Oct 2011 21:49:25 -0400

Freedom is a performance we did in the game Counter-Strike, where Eva tries to convince the other players to save her because she is "trying to make an artwork". The result is her being endlessly killed and abused.

Luminous Form

Travess Smalley — Sat, 15 Oct 2011 21:42:15 -0400

Luminous Form is a collection of irregular shapes that are animated to subtly change over the course of a few seconds. The images are looping animated gifs. The negative space of each gif is transparent.

QR Calligraphy

Manuel Fernández — Sat, 15 Oct 2011 21:36:40 -0400

The piece is a reflection about the history of the reproduction of images, extending its boundaries to the interactive scope, it requires audience participation to complete. Draws a parallel between the traditional context of printmaking and contemporary mas media dissemination of images in the digital age of Internet and mobile phones. Start from the visual similarities found between the geometric Kufic Arabic calligraphy and QR codes (Quick Response) used to transmit information current data can be decoded with a mobile phone camera. This type of calligraphy, best known for being the first in which the Quran is written, it also has great importance in the dissemination of mystical poetry. Using computer software, were coded Mathnavi different fragments, a masterpiece of Sufi mystical poetry, unlike other branches of Islam, using the intuitive practice and experience, to get a direct knowledge of spiritual realities (Tahqeeq) throughunveiling (kashf) and inspiration (ilham). The computer language of process and production codes, is scheduled and runs on an arabic numeral system, the binary system of zeros and ones, thus the contents of a medieval expression that seems to have stuck in time, serves as a starting point for a process that generates an image of the 21st century. The project consists of eight parts, one for each volume of Mathnavi.

text2image

ted davis — Tue, 11 Oct 2011 12:28:58 -0400

text2image is an online tool that does exactly as the name describes, but in a different way than one might expect. Rather than creating a typographic based image of the live text submitted, this tool renders an abstract image that is the digital translation of the input text. The results remain consistent for any given entry, however will change greatly through alternate keying. Within the realms of data visualization + glitch/digital aesthetics, text2image.org explores alternative ways in creating images and analyzing texts.

DUMP

esther hunziker — Tue, 11 Oct 2011 12:24:25 -0400

Dump is a work about abstract language. Communication which pretends to say something, but does not. The substance seams meaningless and incomprehensible. The work interconnects abstract spam-mails text with schizophasia, an disorganized speech characteristic of schizophrenia. In the psychotic disorder of schiziphrenia, the ability to filter and process information is disturbed. Our brain normally acts as a filter for information from the senses, helping the brain pick out which nerve messages are important. A breakdown in this filter might lead to "information overload" - and contribute to the confusion often experienced by schizophrenics. DUMP uses visual and auditiv technics to build up a situation like it can be provoked by such a brain disfuntion. The the text blocks used in the work are exlusively spam-mails, which in formal are rarely different from the speech of schizophasia.

Kriegspiel

Alexander Galloway — Tue, 11 Oct 2011 12:19:26 -0400

"The surprises of this Kriegspiel seem to be inexhaustible," Guy Debord confessed in his book Panegyric. "I fear it could be the only one of my works that anyone will dare to recognize as having some value." With the assistance of his benefactor Gérard Lebovici, Debord produced the game in a limited edition during the summer of 1977. "I insist on the opportunity to throw the Kriegspiel into the stunned world as soon as we can," wrote Debord to Lebovici early in 1978. "The cinema seems to me to be over. [...] I believe that these times don't deserve a filmmaker like me." The edition included an 18 by 14 1/4 inch game board and player tokens fabricated in silver-plated copper by the "intrepid" Mr. Raoult, a Parisian artisan whom Debord admired and trusted implicitly. By the end of June, 1978, after delays due to poor health, Debord finished drafting a written copy of the game rules. "I am sending you the rules soon," he wrote to Lebovici. "The juridico-geometric writing style has cost me innumerable headaches." Ten years later in 1987, the game was mass-produced on cardboard with wood tiles. That year Debord and his wife Alice Becker-Ho published a book on the game, Le Jeu de la Guerre : Relevé des positions successives de toutes les forces au cours d'une partie, which was translated into English for the first time in 2007. The book is an annotated documentation of game play and includes appendices containing the game rules and strategy tips. In his letters Debord referred to the game as the "Kriegspiel," borrowing the German term meaning "war game." When the game was fabricated and released in France, Debord officially titled it "Le Jeu de la guerre." Since the phrasing "The Game of War" is slightly awkward in English, we opted to title the RSG game using the original word favored by Debord: Kriegspiel. Debord fashioned the game as a tool for learning strategic thought in the face of real antagonists. Hence the computer edition is played online against a single opponent. There is no single-player mode. In Debord's view the game represents the totality of factors at play in wartime maneuvers, what he called "the dialectic of all conflicts." The RSG computer game "Kriegspiel" is an attempt to reinterpret Debord's ideas in the contemporary landscape, while maintaining a fidelity to his original thinking.

gridSol-precomps

a bill miller — Tue, 11 Oct 2011 12:18:49 -0400

"gridSol-precomps" is made up of 9 sequential web pages. By clicking the large central image, the user moves forward through the various animated gif compositions.

Noumina

M. Leaf-Tierney — Tue, 11 Oct 2011 11:44:40 -0400

NOUMINA presents a story, an abstract narrative, a cinematic journey through the cosmos. From a twinkly gaze at the stars, we are confronted with a presence, a geometric object, and are taken on a journey to its domain. Through super hi-resolution images of the Universe, the participant experiences multi-dimensional layers, geometric viewports to other-worldly realities. Accompanied by a hypnotic original score, the piece swoons and arcs over multiple moods and territories, finishing back at our home world, again at the gaze of ever-distant night stars. 2010 marks the 20th anniversary of the Hubble, the world's first orbiting space telescope. 'Noumina' presents our current visual rendering of the Universe via high-quality satellite imagery from NASA, and video improvisations from the open-source planetarium software Stellarium. Framed within alternate polygonal layers, the project attunes with the lineage of expanded cinema, and pays homage to the successes of astronomy thus far. NOUMINA is part of an ongoing series of cinematic explorations of the Other, both formally and in its representation as alien encounter.

factum/mirage

Jennifer Chan — Tue, 11 Oct 2011 11:30:27 -0400

Edited and looped one-off webcam performances for the masturbating population on Chat Roulette, which are screenrecorded as video documentation. Video I and III are not-safe-for-work. Here documentation of post-produced (looped) performance for the camera is fed through ChatRoulette and screen recorded as art or evidence such interaction between "live" video and a stranger using the same livechat service.

PacketWeather

Michael Zbyszyński — Tue, 11 Oct 2011 11:24:35 -0400

PacketWeather is a visualization and sonification of the data traffic that continuously surrounds us. Every second, computers are sending information “packets” out into the ether. These might be low level, such as checking the time on the network, or part of a storm of bits that represent email or html web browsing. While action is initiated by the user in the latter case, it can be surprising how much communication is generated automatically and occurs beneath the surface. Not only are data packets passing around us on wires, they are also passing straight through us as part of wireless data networks that are becoming ubiquitous. PacketWeather exposes part of the ocean of data that we are currently immersed in, but are usually unaware of. PacketWeather employs Carnivore (officially DCS1000), a network “diagnostic” tool that the FBI has used to sniff out internet packets. Carnivore has been ported to run in Processing, an open source image, animation, and data visualization environment. It is here that the IP addresses and port numbers, of incoming packets are examined, and plotted visually. The spatial location of the plots corresponds to the IP addresses of the sender and receiver, while the color of the plots indicates what kind of traffic that packet represents (blue is html, red is instant messaging, green is email, etc.) Processing then packages this information into the OpenSoundControl, a communications protocol that originated in music synthesis. This protocol is passed along to Max/MSP, a data-flow based audio programming environment. Max keeps a running histogram of what packets have been seen, and uses that to generate a sonic environment based on the current packet climate. Repeated ports become more prominent, and different packet types (UDP or TCP) are identified by individual timbres. PacketWeather is both site and time specific. Since it picks up all the traffic on the local area network, it can be extremely dense and active on a large network and much more minimal in a home environment. The nature of the prevailing traffic also influences the moment-by-moment evolution of the environment, and is strongly determined by the specific activities of users on the network.

ADMVIII BOT

RYBN — Tue, 11 Oct 2011 11:23:22 -0400

On May 6, 2010, around 2:40 p.m., the Dow Jones Industrial Average index fell about 900 points in less than twenty minutes. The loss was estimated at one trillion dollars. Following this event, all transactions made that day between 2:40 and 3 p.m. were canceled in joint agreement. This instantaneous stock market crash, which is now referred to as the “Flash Crash,” was caused by miscalculations carried out by high-frequency trading robots operating on the markets. Despite its virtuality, this crash sheds light upon the actual architecture of finance; its particular temporality and scale that reaches far beyond human physical abilities and perceptions, where robots trigger thousands of orders each second and flood the market with millions of fake information to hide their true investments, a process which is called “quote stuffing.” Engaging finance in its most recent and complex developments, RYBN has undertaken the construction of its own amateur trading bot, designed to invest and speculate on the financial markets. Its decisions are taken with the help of an internal algorithmic intelligence system, and can be influenced by a wide range of external arbitrary parameters. The whole decision system allows the program to foresee the next moves in the markets, while it tries to identify and anticipate the relevant and effective patterns within the financial chaotic oscillations. The performance stops when the robot reaches bankruptcy.

SVEN (Surveillance Video Entertainment Network)

Amy Alexander — Tue, 11 Oct 2011 11:16:45 -0400

SVEN (Surveillance Video Entertainment Network) is a real-time computer vision and surveillance system that detects “likely rock stars” among pedestrians and generates music videos based upon their features. SVEN is a public space project, exhibited in both stationary locations and as a performance in a van-based “SVEN Mobile Unit.” The SVEN system is comprised of of a camera, monitor, and two computers that can be set up in public places - especially in situations where a CCTV monitor might be expected. The software consists of a custom computer vision application that tracks pedestrians and detects their characteristics, and a real-time video processing application that receives this information and uses it to generate music-video like visuals from the live camera feed. The resulting video and audio are displayed on a monitor in the public space, interrupting the standard security camera type display each time a potential rock star is detected. The idea is to humorously examine and demystify concerns about surveillance and computer systems not in terms of being watched, but in terms of how the watching is being done - and how else it might be done if other people were at the wheel.. There's also the other side of the SVEN coin: when do rock stars look like you? We noticed that music video cinematography and editing often resembles surveillance footage. So in the spirit of reality TV, we programmed SVEN's cinematography algorithms to make surveillance music videos live...

Stilllives

Dave Greber — Tue, 11 Oct 2011 11:09:41 -0400

single-channel video loop 2:00 min Limited Edition of 10 DVDs 2011 "It's a phenomenally addictive video - something akin to the cross between a pop video, a video game, a magician's act and a Dutch still life. Totally hilarious while being gluttonous, perverse and twisted" --Reggie Rodrigue, The Daily Visionary Post

Sniff

Karolina Sobecka — Tue, 11 Oct 2011 11:07:26 -0400

Sniff is created with Blender3d, and Unity3d Game Engine which renders the dog in real time and allows to dynamically change his behavior based on the video tracking data. The sidewalk is illuminated with infrared lights. An infrared-sensitive camera is used to monitor the sidewalk in front of the display windows. We track the position of each viewer and implement simple gesture recognition, so that fast, big actions are interpreted as threatening and slow actions directed at the dog (for example hand extended in his direction) are interpreted as friendly. The dog keeps track of the attitude of the viewer and forms a relationship with them over time based on the history of interaction.

Hierarchical Dynamics

Wyatt Niehaus — Tue, 11 Oct 2011 11:01:05 -0400

Interactive Robotic Painting Machine

Ben Grosser — Tue, 11 Oct 2011 10:59:52 -0400

greek new media shit

sterling crispin — Tue, 11 Oct 2011 10:58:25 -0400

an ongoing tumblr blog of curated works regarding henelistic and greco-roman references within new media art.

Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound ~A Guided Meditation~

Andrew Norman Wilson — Tue, 11 Oct 2011 10:57:38 -0400

This video/audio file/essay starts by asking why the no video signal is blue. At first it presents a futile attempt to deconstruct the meaning of the color blue, then reaches beyond standard rhetorical and semiotic models through the philosophy of Brian Massumi, William James, and Ludwig Wittgenstein, interactions with Sony customer support, and the compositions of Walter de Maria and Alice DeeJay. Originally published in Pool - pooool.info/?p=812

A Mirror Unto Itself

Krystal South — Wed, 05 Oct 2011 22:17:47 -0400

Two 24" x 26" framed digital prints, 100 b/w 11" x 17" essay, mirror, HTML, PDF

put it on a pedestal .com

Anthony Antonellis — Wed, 05 Oct 2011 22:14:36 -0400

Put it on a pedestal: a gif storage facility which emulates museum conventions; visitors are required to put the works on a pedestal.

behold behold .com

Anthony Antonellis — Wed, 05 Oct 2011 22:13:58 -0400

Behold, behold: two marvelous objects to gaze upon

The Dynamics of Non-Being

sterling crispin — Fri, 09 Sep 2011 00:12:46 -0400

Seven video responses to Constant Dullaart's "youtube as a subject"

Ben Coonley — Fri, 12 Aug 2011 02:07:08 -0400

In a 2008 Rhizome blog post, Ed Halter writes: "… appropriating the spinning wheel of dots that eager viewers need to sit through as a video loads—in keeping with his longstanding interest in media breakdowns and frustrations. Coonley's dot-wheel now drifts off into the distance, accelerates rotation, and (betraying Coonley's Providence-scene roots) expands into a psychedelic black-and-white OpArt swirl."

My Great DVD

Jennifer Chan — Fri, 15 Jul 2011 12:31:40 -0400

My Great DVD is a misleading DVD screensaver that consists of the found logo moving unpredictably on a loop. The piece is made to resemble an inoperative video installation within the exhibition space for most of its duration. Presented as a single channel installation on a television set, the piece aims to frustrate expectations of the observing the banal in programmed default movement.

My Generation

Eva and Franco Mattes aka 0100101110101101.org — Fri, 15 Jul 2011 12:30:16 -0400

My Generation is a video collage of kids freaking out while playing videogames. It runs on an old broken computer (that still works).

Life Sharing

Eva and Franco Mattes aka 0100101110101101.org — Fri, 15 Jul 2011 12:30:08 -0400

Life Sharing is a real time sharing system based on Linux. Since January 2001 the main 0100101110101101.ORG's computer has been turned into a transparent webserver. Any user has free and unlimited access to all contents: read texts, see images, download software, check 01's private mail, get lost in this huge data maze. Life Sharing is a brand new concept of net architecture turning a website into a hardcore personal media for complete digital transparency. Permanent infotainment from the peer to peer generation. Privacy is stupid. At the end of 2003 Life Sharing has been interrupted, after more than 3 years of free and unlimited access.

New Work #50

Jordan Tate — Fri, 15 Jul 2011 12:29:36 -0400

Continuing Education for Dead Adults

Ben Coonley — Fri, 15 Jul 2011 12:29:04 -0400

Performance at the New Museum. Part of the New Silent Series. Three multi-media performances that riff off the consequences of youth pop culture and adolescent education. East Coast collective Paper Rad premieres two videos: "Problem Solvers" (20 min, 2008) and a short entitled "crank dat spongebob batman dropdead robocop" (3 min, 2008), a ride through Youtube narcissism. New York artist Ben Coonley presents a new performance entitled 'Kindred Spirits is the Working Title,' (15 min, 2008) and Providence-based experimental band Wizardzz (featuring members of Lightning Bolt) will perform in front of a mesmeric animated tapestry composed of images taken from the Web.

Postcards from Google Earth, Bridges

Clement Valla — Tue, 05 Jul 2011 19:42:21 -0400

I am collecting these new typologies as a means of conservation - as Google Earth improves its 3D models, its terrain, and its satellite imagery, these strange, surrealist depictions of our built environment and its relation to the natural landscape will disappear in favor of better illusionistic imagery. However, these strange mappings of the 2-dimensional and the 3-dimensional provide us with fabulous unintended forms. They are artifacts worth preserving.

Perpetual Threshold

sterling crispin — Tue, 05 Jul 2011 19:15:33 -0400

A bird perpetually suspended in flight slightly above water locking its gaze upon its reflection.

I'm Google

Dina Kelberman — Tue, 05 Jul 2011 19:15:25 -0400

Wanderer by Jae Hoon Lee

Luke Munn — Tue, 05 Jul 2011 19:15:00 -0400

The well known dérive from the Situationist International was an an intentional drifting, a conscious series of accidents and chance encounters designed to upset the efficient journey, the well-trod A to B of work to home, home to study, study to work. But while de-facto leader Guy Debord compared this technique to the abstract terrain of language used by the psychoanalyst, it’s practitioners played out their ‘detournments’ in a decidedly physical landscape of bricks-and-mortar architecture, crowds and passers-by. In contrast, Lee lets us drift through an entirely constructed digital topography, environments sourced from fact and stitched into fiction. Road indicators bleed into dusty rocks, a backyard hose snakes into beach dunes flecked with light. Stripped of social and built architecture, the cues are removed from this strange world. Without the functionality of banks and gas stations, without the community of companions, we’re left instead to wander in a non-place. The user becomes a hyohakusha, ‘one who moves without direction’. In his study Paris et l’agglomération parisienne (Bibliothèque de Sociologie Contemporaine, P.U.F., 1952) Chombart de Lauwe notes that “an urban neighborhood is determined not only by geographical and economic factors, but also by the image that its inhabitants and those of other neighborhoods have of it.” Along with photography, Lee employs field recordings, sound sourced from environments, as a type of second landscape. This supplementary topography ebbs and shifts to it’s own rhythm, introducing buzzing planes and pattering rainfall in cycles seemingly independent of the imagery. While air drifts through these sonic spaces, carrying noises from afar, the pictured environment is flattened, hermetically sealed in the thin glass layer of the user’s screen. The result is a type of quiet, slow-motion struggle, as imagery and acoustic information drift in and out, tugging against each other, leaving the viewer to resolve them into a coherent psycho-geographic “place” or simply hold them apart in constant tension. A weathered skeleton in windy fields of memory, piercing like a knife -Matsuo Basho “Maze-like” is how the artist describes this space. Each user is restricted to a horizontal or vertical panning motion, butting up against the browser container before panning through another sliver of this constructed landscape. Whether ‘corrupting’ satellite images with spliced in photographs, or forcing us into claustrophobic movement, the work seems to question our relationship with technology, the authenticity of our knowledge, the self-limited ‘mapping’ of ourselves and our environment. How do we challenge pre-established notions or create true alternatives? Is it actually possible to ‘conceive what is outside’? Like the meditating prisoner who finds (some) freedom, rejecting the given maze parameters of this work to instead backtrack, linger, or restart reveals new possibilities and wider imagined ‘places’. Perhaps it’s this mode which allows a static wandering, a stationary drift in a ‘turbulent, stormy zone, where singular points and relationships of force between those points are tossed about”.

15x15

Richard Vickers — Tue, 10 Oct 2006 08:54:13 -0400

In 1968 Andy Warhol stated that; "In the future, everyone will be world-famous for 15 minutes". Using Warhol's statement as a premise, 15x15 advances the statement into the 21st century; with new media technology anyone and everyone can be world famous....for 15 seconds. Participants can contribute to the piece using a standard mobile camera phone that can capture video, and can send video clips directly from their camera phone using MMS (Multimedia Message Service), via email or upload from your personal computer to the online database http://www.15x15.org or email me@15x15.org The clips should be the standard video setting for a cameraphone, 176 x 144 and can be longer than 15 seconds but will be reduced to that length, participants can send as many clips as they wish. The clips can be portraits, experiential, vignettes, experimental, anything within reason, from the banal to the downright bizarre! The viewable artwork is an interface consisting of 15 individual rectangular screens, each individual screen displays a random video clip stored within the database for a 15 second duration: 15x15. In the 21st century art is being fundamentally realigned for anyone and everyone. 15x15 is a homage to Warhol, a realisation of the artistic utilisation of new media technology and the democratisation of art in the age of digital production. The work will be shown at the 4th International Symposium of Interactive Media Design, Yeditepe University, Istanbul 28th - 30th April, then exhibited at other locations throughout the world and viewable on the web at anytime, any location. Richard Vickers, Oliver Dore, Greg Brant Hull School of Art & Design, University of Lincoln, United Kingdom

screencozies

jacky Sawatzky — Tue, 10 Oct 2006 08:53:10 -0400

I started knitting screencozies because one day I found myself fed up with the materiality of the powerbooks' screen. I usually spend hours a day behind this machine and do range of different things on it, from video editing to writing code for interactive video installations. But even though the output on the screen ranges from different kinds of images and text, the actual feel of the screen never changes. It's an LCD-screen, period. The convergence of media, which is an inherited quality of the computer, has become unappealing. It reminds me of processed food where if I eat alfredo sauce or tandoori chicken mix, I always feel like my taste buds are confined within the limits of the chemicals used to preserve the food and the conventions of an mass-produced taste of tandoori chicken or alfredo sauce. I came to conclusion that the normalization of the senses is the commonality between processed food and the computer screen. The screencozies are an attempt to protest this normalization.

StoryStorage

byul shin — Wed, 23 Aug 2006 10:23:41 -0400

"StoryStorage" is a mobile community project connecting real space and virtual space by using mobile technology, especially SMS(short message service) and MMS(multimedia messaging service). This project explores the emerging mobile culture while creating a model for mobile storytelling. "StoryStorage" explores a possibility of a community based project in public space, where passers-by become the participants of the project, and all the mobile phone users become virtual participants. This project engages with private and yet communal memories in the space where physical and digital space overlap. Using SMS or MMS, the participants write and share their own personal memories that are related to the location. The memories of the real space are written, stored, and shared digitally, where the sharing of the stories occurs between strangers connected by the mobile and web communication technologies. The stories, therefore, are delivered crossing different levels of reality as our experiences do cross real and the digitally shared memory spaces. Moreover, by bringing the everyday tool of personal communication to the domain of public art, we want to explore the possibility of a new kind of a community in this real/digital public space in which the mobile medium mediates and delivers personal memories collected as communal experiences related to that location.