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| bar-shai | filardi | loudobjects | dubois | moore | dean | knouf | kildall | solaas |
by Nurit Bar-Shai
with funds from the Jerome Foundation
Appropriating, processing, and interweaving several existing webcam feeds of Mount Fuji, FUJI is a durational piece for four seasons. FUJI examines the authenticity of networked, spatiotemporal experiences of distant nature, sacred sites, and sacred icons. The overwhelming immediacy and delirious variety of live broadcasts available via the Internet, as well as the current incitement to communicate with distant but real subjects alter our experience of space which is invariably mediated through images. In FUJI, the gap between the real place and its representation no longer exists. FUJI is a voyage across deep time, experienced minute by minute, day by day — a longing for a place that could never be, yet, evidently, always is.
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by Liz Filardi
with funds from the Jerome Foundation
One of the original cases of criminal stalking in America is retold within the framework of a social network called Black&White, which consists of two mirrored profiles, those of Laura Black and Richard Farley. The website extrapolates on the tongue-and-cheek usage of the term "stalking" to describe the accepted social protocol, a far cry from the original behavior that, in this case, lead to a massacre at a booming Silicon Valley company in 1988. This project points to new and different levels of trust, privacy and social order in our networked society, tells the story behind the first Anti-Stalking Law passed in California in 1991 in the language and structure of networks, and tragically binds together two tormented Americans, once at opposite ends of an ineffective restraining order.
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by Liz Filardi
with funds from the Jerome Foundation
Anxious about the lack of ownership and access to my personal history, I explore how the structure of Facebook provides a literal construct of identity, framing the tension between the opacity of image and the multiplicity of being. For several weeks, I clear my Facebook profile of public information only to spontaneously repopulate the fields and clear them again, each time leaving a single link in my "About Me" section. Facebook users who select the link will open a flattened "archive" version of the previously visible profile.
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by Loud Objects
with funds from the Jerome Foundation
Loud Objects, NYC-based circuit sorcerers, present a wacky way to learn hardware audio programming. The WWW-Enabled Noise Toy invites anyone with a web browser to write their own audio code, program it remotely onto a Noise Toy, and play it live via webcam. In the spirit of "try it yourself" software demos, the website provides a simple environment for experimenting with low level microchip-generated audio. Load code from the Loud Objects' own library of performance algorithms, hone your own noise techniques, and add your work to the online archive to share it with other microchip coders and create an open source noise community.
by R. Luke DuBois, with Todd Reynolds
with funds from Meet the Composer and the New York City Department of Cultural Affairs
Moments of Inertia is an evening-length performance based on a teleological study of gesture in musical performance and how it relates to gesture in intimate social interaction. The work is written for solo violin with real-time computer accompaniment and video. Moments consists of twelve violin études written for Todd Reynolds – ranging from 1-10 minutes in length – each of which uses a different violin performance gesture as a control input for manipulating a short piece of high-speed film (300 frames-per-second) – of objects and people in motion. Taking its cue from principles in physics that determine an object's resistance to change, the violinist's gestures time-remap and scrub the video clip to explore the intricacies of the performed action. [Needs Quicktime player and fast connection]
by Stephan Moore
with funds from the New York City Department of Cultural Affairs
The Occupants is a generative composition with some aspects that can be influenced through single- or multi-user interaction. Moore has used the piece to search for answers to both profound and insipid questions, such as: What does it mean to compose a “site-specific” composition when the site is the internet? The Occupants is a long-term project that will eventually encompass multiple sub-compositional personalities. This premiere performance focused on a single personality, i.e. the first occupant, with its (mostly) monophonic voice and (mostly) agreeable disposition. A number of copies of this personality were distributed throughout Issue Project Room’s array of Hemisphere speakers and set loose to compose themselves.
by Benjamin Dean
with funds from the Jerome Foundation
I am unable to tell you is an experiment in collective solipsism. It's about leaving your fingerprints on the glass you were trying to clean. It's only someone else's experience. It's about the closure property of sets. It's just the referents. It's depth-first search. It's about being face to face. It's about not talking. It's turtles all the way down. [Needs webcam]
by Nicholas Knouf
with funds from the Jerome Foundation
Journal of Journal Performance Studies (JJPS) is a series of three interrelated works that engage with academic publishing. The project consists of a Firefox extension, an online radio, and a journal. The JJPS Firefox Extension overlays bibliometric data, graphs of journal ownership, and journal cost onto publisher websites. The extension also replaces advertisements on scholarly sites to provide a glimpse into the future of scholarly distribution. JJPS Radio is designed as a fully-automated internet radio station, presenting recitations of articles in our database of hundreds, translations of texts into sound, and news and views important for the study of journal performance. JJPS Radio suggests not only new methods for the dispersion of academic work, but also re-purposes academic texts as its source material. The Journal is an experiment in the propagation of scholarly work. The hope is that the journal will develop into an ongoing project on the limits of contemporary intellectual representation. [Needs Firefox browser]
Recipient of a MEMEFEST Award >>
by Scott Kildall
with funds from the National Endowment for the Arts
I have come to the personal conclusion that while all artists are not chess players, all chess players are artists. - Marcel Duchamp
Marcel Duchamp is widely recognized for his contribution to conceptual art, but his lifelong obsession was the game of chess, in which he achieved the rank of Master. Working with the records of his chess matches, Kildall has created a computer program to play chess as if it were Marcel Duchamp. In a series of open challenges, he invites all artists, both skilled and unskilled at this classic game, to play against a Duchampian ghost.
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by Leonardo Solaas
with funds from the National Endowment for the Arts
Google is the main hub of an emerging data-driven world. It is a beast with many faces, impossible to grasp all at once and growing new limbs every day. It is also the name of many contradictions: a centralized traffic control in the (supposedly) horizontal and distributed Internet; a supporter of data openness and accessibility that relies on secret algorithms; and a ranking technology that is based on finding out popularity while it simultaneously determines it. Google Variations is a series of approximations of some of these diverse aspects of Google. It is a collection of formal and conceptual micro-experiments, a fly-eyed view of an entity so pervasive that it tends to be invisible while it radically changes our lives. Google Variations employs multiple strategies to de-naturalize our relationship with the brand, the corporation and the technology.
by Benjamin Gaulon aka RECYCLISM"!
Corrupt™ was originally built with Proce55ing. This PHP version has been realised in collaboration with BlueMelon. The corruption process starts by reading the binary of an image file [JPG or GIF]; then some bytes are randomly swapped. The file is then "saved as" a new document. Depending on the number of replacements and the original compression, the image will have a completely different and unpredictable aesthetics. Thus, from a single image the program can generate millions of corrupted versions. And because it is a real corruption system that damages the binaries of a file, some of the results can’t be showed because they are too damaged.
Curated by Turbulence.org co-directors Jo-Anne Green and Helen Thorington, and Pace Digital Gallery co-directors Jillian Mcdonald and Frank Marchese, this exhibition at Pace Digitial Gallery (September 22 - October 21, 2010) honored the career of American net artist David Crawford (1970-2009).
Upgrade! Boston is a monthly gathering of new media artists and curators that fosters dialogue and creates opportunities for collaboration within the media art community. At each meeting one or two artists/curators present work in progress and participate in a discussion. Upgrade! Boston is a node in the Upgrade! International network.