JIMPUNK | MICHAEL TAKEO MAGRUDER
JILLIAN MACDONALD | YOUNG-HAE CHANG
PETER HORVATH | JODI
MARISA OLSON AND ABE LINKOLN
JOGCHEM NIEMANDSVERDRIET | DAVID CLARK
ANTONIO MEDOZA | BROOKE KNIGHT | TITLER
YAEL KANAREK | REYNALD DROUHIND
JONATHAN HARRIS | GRRRR | STANZA | C.J. YEH
WHAT ARE YOU? | OLIA LIALINA
PAUL ZELEVANSKY | KENNETH TIN-KIN HUNG
ALAN BIGELOW | EDUARDO NAVAS | ANDY DECK
Novemeber-December 2008
election 2.008
by Andy Deck
Election 2.008 offers a way for people around the United States and the world to share their thoughts about the end of the Bush administration and the start of a new chapter in American politics. As it is experienced online, the work consists of the words "MISSION ACCOMPLISHED?" and a blank rectangle. By using the mouse to click on the letters, the rectangle becomes a canvas that lets the visitor draw graffiti over top of the letters. The image is live. Changes made to it are sent to all the people who are currently visiting the website.
Andy Deck (NYC) is an artist specializing in Internet media. His work addresses the politics and aesthetics of collaboration, interactivity, software, and independent media. Deck combines code, text, sound, and image, demonstrating new patterns of participation and control that distinguish online presence and representation from previous artistic practices.
http://andydeck.com
http://artcontext.org
election 2.008
by Andy Deck
Election 2.008 offers a way for people around the United States and the world to share their thoughts about the end of the Bush administration and the start of a new chapter in American politics. As it is experienced online, the work consists of the words "MISSION ACCOMPLISHED?" and a blank rectangle. By using the mouse to click on the letters, the rectangle becomes a canvas that lets the visitor draw graffiti over top of the letters. The image is live. Changes made to it are sent to all the people who are currently visiting the website.
Andy Deck (NYC) is an artist specializing in Internet media. His work addresses the politics and aesthetics of collaboration, interactivity, software, and independent media. Deck combines code, text, sound, and image, demonstrating new patterns of participation and control that distinguish online presence and representation from previous artistic practices.
http://andydeck.com
http://artcontext.org
October 2008
Traceblog
by Eduardo Navas
Traceblog is a daily ghost log of Eduardo Navas's online searches, created with TrackMeNot (TMN). While Navas surfs the web, TrackMeNot is activated with the aim to cover his online surfing. TrackMeNot is a browser extension designed for search engine obfuscation.
Eduardo Navas is an artist and researcher specializing in Contemporary Art and Media. He has presented his work throughout the Americas and Europe, and collaborates with artists and institutions to organize events and develop new forms of publication. He has been a juror for Turbulence.org and Rhizome.org, and is a 2008 Creative Capital Consultant. He is co-founder of newmediaFIX (2005 to present), and was gallery Coordinator at CALIT2, UC San Diego in 2008. Navas has taught art and media theory for numerous colleges and Universities in Southern California, as well as the East Coast. He is a Ph.D. Candidate (ABD) in the Department of Art History, Theory and Criticism at UCSD. http://www.navasse.net.
Traceblog
by Eduardo Navas
Traceblog is a daily ghost log of Eduardo Navas's online searches, created with TrackMeNot (TMN). While Navas surfs the web, TrackMeNot is activated with the aim to cover his online surfing. TrackMeNot is a browser extension designed for search engine obfuscation.
Eduardo Navas is an artist and researcher specializing in Contemporary Art and Media. He has presented his work throughout the Americas and Europe, and collaborates with artists and institutions to organize events and develop new forms of publication. He has been a juror for Turbulence.org and Rhizome.org, and is a 2008 Creative Capital Consultant. He is co-founder of newmediaFIX (2005 to present), and was gallery Coordinator at CALIT2, UC San Diego in 2008. Navas has taught art and media theory for numerous colleges and Universities in Southern California, as well as the East Coast. He is a Ph.D. Candidate (ABD) in the Department of Art History, Theory and Criticism at UCSD. http://www.navasse.net.
September 2008
When I Was President
by Alan Bigelow
"When I Was President" is a portrait of absolute power as depicted by a fictional President of the United States. This President is unnamed and non-historical, that is, he has never, and could never, exist, yet what he represents is archetypal in nature and endures within the optimism, dangers, and limitations of political power.
The work is created in Flash and divided into nine sections, each of which addresses a different Presidential act of power, and its consequences. The acts of power are elemental and metaphoric--they are simultaneously absurd, idiosyncratic, and impossible, yet they seem to tell some basic truth about the promise of absolute power, and its inherent failures.
"When I Was President" takes approximately four minutes to view. No special downloads or plugins are required.
This work uses images, videos, and audio files acquired online, and modified by the artist. A credits page is included on the site.
Alan Bigelow writes digital stories for the web. These stories are created in Flash and use images, text, audio, video, and other components. These stories are created for viewing on the web, although they can be (and have been) shown as gallery installations.
His work, installations, and conversations concerning digital fiction have appeared in many venues both on and off-line. Currently, in addition to teaching full-time at Medaille College, he is a visiting online lecturer in Creative Writing and New Media at De Montfort University, UK
You can see Alan Bigelow's work at http://www.webyarns.com.
When I Was President
by Alan Bigelow
"When I Was President" is a portrait of absolute power as depicted by a fictional President of the United States. This President is unnamed and non-historical, that is, he has never, and could never, exist, yet what he represents is archetypal in nature and endures within the optimism, dangers, and limitations of political power.
The work is created in Flash and divided into nine sections, each of which addresses a different Presidential act of power, and its consequences. The acts of power are elemental and metaphoric--they are simultaneously absurd, idiosyncratic, and impossible, yet they seem to tell some basic truth about the promise of absolute power, and its inherent failures.
"When I Was President" takes approximately four minutes to view. No special downloads or plugins are required.
This work uses images, videos, and audio files acquired online, and modified by the artist. A credits page is included on the site.
Alan Bigelow writes digital stories for the web. These stories are created in Flash and use images, text, audio, video, and other components. These stories are created for viewing on the web, although they can be (and have been) shown as gallery installations.
His work, installations, and conversations concerning digital fiction have appeared in many venues both on and off-line. Currently, in addition to teaching full-time at Medaille College, he is a visiting online lecturer in Creative Writing and New Media at De Montfort University, UK
You can see Alan Bigelow's work at http://www.webyarns.com.
July/Aug 2008
1111111111111111111111111.com
by Kenneth Tin-Kin Hung
Born in Hong Kong, now residing in San Francisco and New York, Kenneth Tin-Kin Hung obtained his Bachelor of Arts in Arts degree from San Francisco State University in May 2001. The media Hung experiments with include internet art, interactive installation, video, sound and performance art. Some of the venues Hung was invited to exhibit at include Yerba Buena Center Of The Arts (San Francisco, USA), Cartwrighthall Art Gallery (Bradford, United Kingdom), C.S.O.A. COX18 (Milan, Italy), Hebbel Am Ufer theatre (Berlin, Germany), L.A. Freewaves Festival of Experimental Media Arts (Los Angeles, U.S.A.), IMPAKT Festival (Utrecht, The Netherlands), and Stuttgarter Filmwinter Festival For Expanded Media (Stuttgart, Germany), to name a few.
His web-site 111111111111111111111111111111111.com has culminated over 28 million hits since it debut and has set the highest records of traffic at the history of the webhosting company MediaTemple.net. The website won the "VIPER International Award- Internet" in the 2002 VIPER Internationales Festival Für Film Video Und Neue Medien (Basel, Switzerland), was given an "Honorary Mention- Net Excellence" in the 2002 Prix Ars Electronica (Linz, Austria) and included as an permanent collection at Museum Of Applied Arts Frankfurt ( Frankfurt, Germany). Hung's works was reviewed by major international publications including Liberation (France), Le Monde (France), El Pais (Spain), Speigel (Germany) and La Repubblica (Italy).
1111111111111111111111111.com
by Kenneth Tin-Kin Hung
Born in Hong Kong, now residing in San Francisco and New York, Kenneth Tin-Kin Hung obtained his Bachelor of Arts in Arts degree from San Francisco State University in May 2001. The media Hung experiments with include internet art, interactive installation, video, sound and performance art. Some of the venues Hung was invited to exhibit at include Yerba Buena Center Of The Arts (San Francisco, USA), Cartwrighthall Art Gallery (Bradford, United Kingdom), C.S.O.A. COX18 (Milan, Italy), Hebbel Am Ufer theatre (Berlin, Germany), L.A. Freewaves Festival of Experimental Media Arts (Los Angeles, U.S.A.), IMPAKT Festival (Utrecht, The Netherlands), and Stuttgarter Filmwinter Festival For Expanded Media (Stuttgart, Germany), to name a few.
His web-site 111111111111111111111111111111111.com has culminated over 28 million hits since it debut and has set the highest records of traffic at the history of the webhosting company MediaTemple.net. The website won the "VIPER International Award- Internet" in the 2002 VIPER Internationales Festival Für Film Video Und Neue Medien (Basel, Switzerland), was given an "Honorary Mention- Net Excellence" in the 2002 Prix Ars Electronica (Linz, Austria) and included as an permanent collection at Museum Of Applied Arts Frankfurt ( Frankfurt, Germany). Hung's works was reviewed by major international publications including Liberation (France), Le Monde (France), El Pais (Spain), Speigel (Germany) and La Repubblica (Italy).
May/June 2008
www.greatblankness.com
by Paul Zelevansky
The GREAT BLANKNESS website has been up for over four years. Each 12-month cycle there is an overriding theme, i.e.: STORY OF THE GLOBE (2005-06), A SAD FAINT SONG OF PRAISE (2006-07), and BACK TO MONO (2007-08). From 20 to 70 seconds long, these Flash animation loops are made up of found images, texts, sound effects and music samples, Each month's animation is set up with an introductory sequence that always includes some manifestation of the Bouncing Boy character and a ringing telephone. Click anywhere on the screen and the user is in. All previous animations are collected in the ARCHIVES.
The majority of images are copyright-free clip art, combined with various scanned samples from mass media, photography, comics, art history, games and ephemera. Often the words are found as well, whether quotations, jokes, or phrases from politics and advertising. The music samples, because they represent particular musical styles and cultural contexts -- whether hip hop, rock, punk, jazz, country and techno -- are the elements most tied to a specific time and place, but as with text and sound effects they move easily between past and present affiliations. Taken together, these animations are conceived as compact constellations of meaning which turn philosophical concerns and cultural reference into kinetic form.
Paul Zelevansky is an artist, writer and teacher living in Los Angeles. His primer on visual thinking, 24 IDEAS ABOUT PICTURES, will be published Spring 2008.
www.greatblankness.com
by Paul Zelevansky
The GREAT BLANKNESS website has been up for over four years. Each 12-month cycle there is an overriding theme, i.e.: STORY OF THE GLOBE (2005-06), A SAD FAINT SONG OF PRAISE (2006-07), and BACK TO MONO (2007-08). From 20 to 70 seconds long, these Flash animation loops are made up of found images, texts, sound effects and music samples, Each month's animation is set up with an introductory sequence that always includes some manifestation of the Bouncing Boy character and a ringing telephone. Click anywhere on the screen and the user is in. All previous animations are collected in the ARCHIVES.
The majority of images are copyright-free clip art, combined with various scanned samples from mass media, photography, comics, art history, games and ephemera. Often the words are found as well, whether quotations, jokes, or phrases from politics and advertising. The music samples, because they represent particular musical styles and cultural contexts -- whether hip hop, rock, punk, jazz, country and techno -- are the elements most tied to a specific time and place, but as with text and sound effects they move easily between past and present affiliations. Taken together, these animations are conceived as compact constellations of meaning which turn philosophical concerns and cultural reference into kinetic form.
Paul Zelevansky is an artist, writer and teacher living in Los Angeles. His primer on visual thinking, 24 IDEAS ABOUT PICTURES, will be published Spring 2008.
April/May 2008
Online Newspapers: New York Edition
by Olia Lialina and Dragan Espenschied
For Online Newspapers: New York Edition, artists Olia Lialina and Dragan Espenschied revive the amateur aesthetic by pairing it with the content of the mainstream press; they imagine how news sites would appear were they developed by the lay journalists whose aesthetic choices defined Web culture before the dot-com boom. By applying this aesthetic to a particular cross section of New York City papers, the artists subtly point to the qualitative assumptions we make about information we read and the significant role design plays in these impressions. Creating a faux precedent to today's Web news, Online Newspapers also alludes to the perpetual obsolescence of technology and style-a major factor in our ever-changing media landscape.
Russian-born artist Olia Lialina currently teaches at the Merz Academie in Germany. Originally a film critic, for the past decade she has produced influential works of network-based art and art criticism. Dragan Espenschied, born in Germany, has received international acclaim for his online art and music, and is a lecturer at the Merz Academie in Germany. Individually and as collaborative partners, the work of both artists has been exhibited extensively online and at venues including Ars Electronica, Linz, Austria; Deitch Projects, New York; the New Museum, New York; the Museum of Contemporary Art, Los Angeles; the Walker Art Center, Minneapolis; and ZKM, Karlsruhe, Germany.
For more information visit: art.teleportacia.org
Online Newspapers: New York Edition
by Olia Lialina and Dragan Espenschied
For Online Newspapers: New York Edition, artists Olia Lialina and Dragan Espenschied revive the amateur aesthetic by pairing it with the content of the mainstream press; they imagine how news sites would appear were they developed by the lay journalists whose aesthetic choices defined Web culture before the dot-com boom. By applying this aesthetic to a particular cross section of New York City papers, the artists subtly point to the qualitative assumptions we make about information we read and the significant role design plays in these impressions. Creating a faux precedent to today's Web news, Online Newspapers also alludes to the perpetual obsolescence of technology and style-a major factor in our ever-changing media landscape.
Russian-born artist Olia Lialina currently teaches at the Merz Academie in Germany. Originally a film critic, for the past decade she has produced influential works of network-based art and art criticism. Dragan Espenschied, born in Germany, has received international acclaim for his online art and music, and is a lecturer at the Merz Academie in Germany. Individually and as collaborative partners, the work of both artists has been exhibited extensively online and at venues including Ars Electronica, Linz, Austria; Deitch Projects, New York; the New Museum, New York; the Museum of Contemporary Art, Los Angeles; the Walker Art Center, Minneapolis; and ZKM, Karlsruhe, Germany.
For more information visit: art.teleportacia.org
March 2008
What Are You?
by Stephane Degoutin, Marika Dermineur and Gwenola Wagon
What Are You? shuffles representations of lifestyles and social codes to generate an endless number of trends, attitudes and social behaviors. Each click launches a new association of images and sounds describing the trend.
In spite of huge investments, designers, marketing experts and trend hunters produce only two new trends a year. What Are You?, thanks to its database of more than 500 past, present and future trends, generates instantly 250.000 combinations, by randomely associating keywords. It is therefore in the position to produce the trends for the next 125,000 years (i.e. until 127005).
This confrontation draws new social labels, in a process that aims to wear out all possible or unlikely fashions or social stereotypes. Moreover, the juxtaposition of these stereotypes questions their respective influence and the boundaries in which they can be defined.
Stephane Degoutin lives and works in Paris.
Marika Dermineur works on the questions related to the Netart. http://marika.incident.net
Gwenola Wagon works as an artist and researcher in the field of video and its relations with new technologies. She is member of the Cela Etant collective.
What Are You?
by Stephane Degoutin, Marika Dermineur and Gwenola Wagon
What Are You? shuffles representations of lifestyles and social codes to generate an endless number of trends, attitudes and social behaviors. Each click launches a new association of images and sounds describing the trend.
In spite of huge investments, designers, marketing experts and trend hunters produce only two new trends a year. What Are You?, thanks to its database of more than 500 past, present and future trends, generates instantly 250.000 combinations, by randomely associating keywords. It is therefore in the position to produce the trends for the next 125,000 years (i.e. until 127005).
This confrontation draws new social labels, in a process that aims to wear out all possible or unlikely fashions or social stereotypes. Moreover, the juxtaposition of these stereotypes questions their respective influence and the boundaries in which they can be defined.
Stephane Degoutin lives and works in Paris.
Marika Dermineur works on the questions related to the Netart. http://marika.incident.net
Gwenola Wagon works as an artist and researcher in the field of video and its relations with new technologies. She is member of the Cela Etant collective.
January 2008
My Avatar by C.J. YEH
Since 1998, C. J. Yeh has been exploring the area of new media art which he has integrated into his more traditional areas of study and expression. The juxtaposition and integration of digital and analog, virtual and actual, natural and cultural, articulates his point of view on the changing perception of identity and reality in the digital era. Yeh's exhibition schedule includes showings at the Queens Museum, the Herbert F. Johnson Museum of Art, the Kennedy Museum of Art, and the National Taiwan Museum of Fine Arts. His work has been introduced and reviewed by publications such as The New York Times, NY Arts, World Journal, and Art China.
C. J. Yeh's research interests include practices, theories, and the history of digital art. Since 1999, Yeh's essays on art and technology have been featured in Art and Collection Magazine, ArtNow Magazine, Art Today Magazine, and Artists Magazine, amongst others. He has also written research articles for The Taipei Museum of Contemporary Art, Taipei Fine Arts Museum, and the National Taiwan Museum of Fine Arts. His first book, Art in The Digital Age, was published in 2003 by Art and Collection, the publishing house of Taiwan. His new book, Digital Aesthetic, is scheduled to be released in May, 2008.
My Avatar by C.J. YEH
Since 1998, C. J. Yeh has been exploring the area of new media art which he has integrated into his more traditional areas of study and expression. The juxtaposition and integration of digital and analog, virtual and actual, natural and cultural, articulates his point of view on the changing perception of identity and reality in the digital era. Yeh's exhibition schedule includes showings at the Queens Museum, the Herbert F. Johnson Museum of Art, the Kennedy Museum of Art, and the National Taiwan Museum of Fine Arts. His work has been introduced and reviewed by publications such as The New York Times, NY Arts, World Journal, and Art China.
C. J. Yeh's research interests include practices, theories, and the history of digital art. Since 1999, Yeh's essays on art and technology have been featured in Art and Collection Magazine, ArtNow Magazine, Art Today Magazine, and Artists Magazine, amongst others. He has also written research articles for The Taipei Museum of Contemporary Art, Taipei Fine Arts Museum, and the National Taiwan Museum of Fine Arts. His first book, Art in The Digital Age, was published in 2003 by Art and Collection, the publishing house of Taiwan. His new book, Digital Aesthetic, is scheduled to be released in May, 2008.
December 2007
Sensity by STANZA
According to Stanza, "Sensity is an artwork and visualization using data from around my house. A wireless sensor network shows emergent spaces as social sculpture. Trying to map and visualize the live real time city by creating my own network of sensors to represent the interactive cityspace. The data collected is used to make audio visual artworks of various kinds that represent the emotional city (2004-06)."
Stanza is a London based British artist who specializes in net art, networked spaces, installations and performances. His award winning online projects have been invited for exhibition in digital festivals around the world. All his work can be found from www.stanza.co.uk
Stanza travels extensively to present his net art, lecturing and giving performances of his audiovisual interactions. His works explore artistic and technical opportunities to enable new aesthetic perspectives, experiences and perceptions within context of architecture, data spaces and online environments
Sensity by STANZA
According to Stanza, "Sensity is an artwork and visualization using data from around my house. A wireless sensor network shows emergent spaces as social sculpture. Trying to map and visualize the live real time city by creating my own network of sensors to represent the interactive cityspace. The data collected is used to make audio visual artworks of various kinds that represent the emotional city (2004-06)."
Stanza is a London based British artist who specializes in net art, networked spaces, installations and performances. His award winning online projects have been invited for exhibition in digital festivals around the world. All his work can be found from www.stanza.co.uk
Stanza travels extensively to present his net art, lecturing and giving performances of his audiovisual interactions. His works explore artistic and technical opportunities to enable new aesthetic perspectives, experiences and perceptions within context of architecture, data spaces and online environments
October 2007
GRRRR by Ingo Giezendanner
Ingo Giezendanner was born in Switzerland in 1975 and grew up in Zurich.
Since 1998 Ingo Giezendanner alias GRRRR, has been documenting the urban spaces in which he has traveled and lived. Apart from his native city of Zurich, his travels have taken him from New York and New Orleans to Cairo, Nairobi Karachi and Columbo. Everywhere he travels, he captures his surroundings on location with pen on paper. His drawings have been presented in numerous magazines, books and animated films as well as in spacious installations and wall paintings.
His website is grrrr.net.
GRRRR by Ingo Giezendanner
Ingo Giezendanner was born in Switzerland in 1975 and grew up in Zurich.
Since 1998 Ingo Giezendanner alias GRRRR, has been documenting the urban spaces in which he has traveled and lived. Apart from his native city of Zurich, his travels have taken him from New York and New Orleans to Cairo, Nairobi Karachi and Columbo. Everywhere he travels, he captures his surroundings on location with pen on paper. His drawings have been presented in numerous magazines, books and animated films as well as in spacious installations and wall paintings.
His website is grrrr.net.
September 2007
Universe by Jonathan Harris
Universe is a system that supports the exploration of personal mythology, allowing each of us to find our own constellations, based on our own interests and curiosities. Everyone's path through Universe is different, just as everyone's path through life is different. Using the metaphor of an interactive night sky, Universe presents an immersive environment for navigating the world's contemporary mythology, as found online in global news and information from Daylife. Universe opens with a color-shifting aurora borealis, at the center of which is a moon, and through which thousands of stars slowly move. Each star has a specific counterpart in the physical world - a news story, a quote, an image, a person, a company, a team, a place - and moving the cursor across the star field causes different stars to connect, forming constellations. Any constellation can be selected, making it the center of the universe, and sending everything else into its orbit.
Universe was conceived and created by Jonathan Harris, in conjunction with Daylife, whose amazing database of real time global news information powers the project. Universe would not have been possible without the tireless support and encouragement of everyone at Daylife, who have built an environment in which this sort of experimentation is celebrated. Jonathan Harris is an artist working primarily on the Internet. His work involves the exploration and understanding of humans, on a global scale, through the artifacts they leave behind on the Web. His website is www.number27.org.
Universe by Jonathan Harris
Universe is a system that supports the exploration of personal mythology, allowing each of us to find our own constellations, based on our own interests and curiosities. Everyone's path through Universe is different, just as everyone's path through life is different. Using the metaphor of an interactive night sky, Universe presents an immersive environment for navigating the world's contemporary mythology, as found online in global news and information from Daylife. Universe opens with a color-shifting aurora borealis, at the center of which is a moon, and through which thousands of stars slowly move. Each star has a specific counterpart in the physical world - a news story, a quote, an image, a person, a company, a team, a place - and moving the cursor across the star field causes different stars to connect, forming constellations. Any constellation can be selected, making it the center of the universe, and sending everything else into its orbit.
Universe was conceived and created by Jonathan Harris, in conjunction with Daylife, whose amazing database of real time global news information powers the project. Universe would not have been possible without the tireless support and encouragement of everyone at Daylife, who have built an environment in which this sort of experimentation is celebrated. Jonathan Harris is an artist working primarily on the Internet. His work involves the exploration and understanding of humans, on a global scale, through the artifacts they leave behind on the Web. His website is www.number27.org.
July 2007
IP Monochrome by Reynald Drouhin
IP Monochrome is an interactive piece in which monochrome is seen as a collective and autonomous piece. When one connects to Reynald Drouhin's web site, a monochrome is generated, using its IP address. Initially coded in numbers, the IP is transformed in RGB (red-green-blue) values. These values are themselves converted in hexadecimals codes, thus giving a unique individual reference colour to the user. The monochrome is generated immediately on the web site and without visible steps. Without asking, Reynald Drouhin transforms the user in a creator, in the author of an unknown monochrome, since no one can anticipate the colour that will come out. Depending on the country, the tonality of the monochrome can have similarities, but millions of possibilities exist.
Reynald Drouhin lives and works in Paris. The artist is currently teaching at the Fine Art School of Rennes and has been a member of the Incident.net group since 1996. For several years Drouhin has worked with digital material (net, picture and video) about appropriation and document diversion. He uses the Web's specificities: images’ search engines, real time, hacking. He has carried out projects relating to the notion of fragments (Des Fleurs, J'eux, Om, Rhizomes), real-time visualizations from webcams (TimesSquare, !C!), or image search engines (Des Frags, Timescape, Incidence). He has also been working on non-linear videos and DVD (BetaGirl, Revenances, Histoire(s), Spaltung, Re-mix, etc.).
http://reynald.incident.net
http://www.incident.net
IP Monochrome by Reynald Drouhin
IP Monochrome is an interactive piece in which monochrome is seen as a collective and autonomous piece. When one connects to Reynald Drouhin's web site, a monochrome is generated, using its IP address. Initially coded in numbers, the IP is transformed in RGB (red-green-blue) values. These values are themselves converted in hexadecimals codes, thus giving a unique individual reference colour to the user. The monochrome is generated immediately on the web site and without visible steps. Without asking, Reynald Drouhin transforms the user in a creator, in the author of an unknown monochrome, since no one can anticipate the colour that will come out. Depending on the country, the tonality of the monochrome can have similarities, but millions of possibilities exist.
Reynald Drouhin lives and works in Paris. The artist is currently teaching at the Fine Art School of Rennes and has been a member of the Incident.net group since 1996. For several years Drouhin has worked with digital material (net, picture and video) about appropriation and document diversion. He uses the Web's specificities: images’ search engines, real time, hacking. He has carried out projects relating to the notion of fragments (Des Fleurs, J'eux, Om, Rhizomes), real-time visualizations from webcams (TimesSquare, !C!), or image search engines (Des Frags, Timescape, Incidence). He has also been working on non-linear videos and DVD (BetaGirl, Revenances, Histoire(s), Spaltung, Re-mix, etc.).
http://reynald.incident.net
http://www.incident.net
June 2007
Object of Desire by Yael Kanarek
Object of Desire is the third chapter in World of Awe, and online travelogue (www.worldofawe.net) that chronicles a search for lost treasure in a parallel world called Sunset/Sunrise. The project imagines a post-gender and post-national protagonist. Born from an observation that language defines borders and territory on the Internet, Object of Desire examines these borders, as the chapter is written in three languages: English, Arabic and Hebrew. Challenging the notion of fixed territory, thirteen scenes of the online project download from servers in four locations-‹in Ramallah, Tel Aviv, Izmir and New York.
Object of Desire has four web addresses:
New York: http://www.eyebeam.org/objectofdesire
Tel Aviv: http://digitalartlab.org.il/objectofdesire
Ramallah: http://www.donialrahba.ps
Izmir: http://www.nomad-objectofdesire.net
Yael Kanarek is an internationally recognized artist who has developed a unique vocabulary of networked interfaces using photography, text, sculpture, and performance. For the past decade she has integrated a range of media into a visual system with epic proportions titled World of Awe. Grounded with an original narrative that expands the ancient tradition and genre of a traveler's tale, Kanarek's World of Awe explores connections between storytelling, travel, memory, and technology. Kanarek is currently an honorary senior fellow at Eyebeam and represented by bitforms gallery. Late October 2007 she will open a solo exhibition at the Jewish Museum in New York. Kanarek is the founder of Upgrade! International-a network of gatherings concerning art, technology and culture (theupgrade.net).
Object of Desire by Yael Kanarek
Object of Desire is the third chapter in World of Awe, and online travelogue (www.worldofawe.net) that chronicles a search for lost treasure in a parallel world called Sunset/Sunrise. The project imagines a post-gender and post-national protagonist. Born from an observation that language defines borders and territory on the Internet, Object of Desire examines these borders, as the chapter is written in three languages: English, Arabic and Hebrew. Challenging the notion of fixed territory, thirteen scenes of the online project download from servers in four locations-‹in Ramallah, Tel Aviv, Izmir and New York.
Object of Desire has four web addresses:
New York: http://www.eyebeam.org/objectofdesire
Tel Aviv: http://digitalartlab.org.il/objectofdesire
Ramallah: http://www.donialrahba.ps
Izmir: http://www.nomad-objectofdesire.net
Yael Kanarek is an internationally recognized artist who has developed a unique vocabulary of networked interfaces using photography, text, sculpture, and performance. For the past decade she has integrated a range of media into a visual system with epic proportions titled World of Awe. Grounded with an original narrative that expands the ancient tradition and genre of a traveler's tale, Kanarek's World of Awe explores connections between storytelling, travel, memory, and technology. Kanarek is currently an honorary senior fellow at Eyebeam and represented by bitforms gallery. Late October 2007 she will open a solo exhibition at the Jewish Museum in New York. Kanarek is the founder of Upgrade! International-a network of gatherings concerning art, technology and culture (theupgrade.net).
April 2007
Titler
Titler
Titler is the brainchild and alter ego of Boston-based producer Greg Roman. The character of Titler is the focus of a series of vignettes that make up Greg's short and marvelous wunderfilm (appropriately called) "Titler". Greg accurately describes the film as "everything nobody wants to see all at once". But when the thing that "nobody wants to see" started getting written up in magazines and selected for competition in film festivals like Sundance, Greg soon realized that people really did want to see "Titler" (which was something he always suspected anyway). As Titler's popularity increased, Greg saw the necessity for a web site to support and promote his creation. The site was created by Murat Bodur of Muratdesigns.
Murat Bodur is the founder of muratdesign, a design studio in Boston, USA . He works with a range of clients on projects including motion graphics, digital branding/ID, advertising design, film/video, music videos, kiosks and recently an ATM machine.
www.muratdesign.com
Titler
Titler
Titler is the brainchild and alter ego of Boston-based producer Greg Roman. The character of Titler is the focus of a series of vignettes that make up Greg's short and marvelous wunderfilm (appropriately called) "Titler". Greg accurately describes the film as "everything nobody wants to see all at once". But when the thing that "nobody wants to see" started getting written up in magazines and selected for competition in film festivals like Sundance, Greg soon realized that people really did want to see "Titler" (which was something he always suspected anyway). As Titler's popularity increased, Greg saw the necessity for a web site to support and promote his creation. The site was created by Murat Bodur of Muratdesigns.
Murat Bodur is the founder of muratdesign, a design studio in Boston, USA . He works with a range of clients on projects including motion graphics, digital branding/ID, advertising design, film/video, music videos, kiosks and recently an ATM machine.
www.muratdesign.com
March 2007
The Library
by Brooke A. Knight
The Library
02/07
A library is a space that - like museums, churches, and casinos - suspends the passage of time as we understand it in our normal lives. One afternoon in Chicago, I found myself in the Harold Washington Library, which, on its top floor, has no books. Trying to convey the quietude of the place and engaged by the patterns used to impart the solidity, earnestness, and importance of the library, I used my cell phone to shoot some video. The cell as a capture device is unassuming, quiet, small, and quick. It also produces moving images where the compression becomes part of the composition, sometimes beautifully. Rather than tell a story, I am interested in relating a mood and some thoughts about the nature of the library.
Brooke A. Knight is an artist and educator who has been working with digital media for over a dozen years. He has exhibited in over 40 international and regional shows, including The Danforth Museum, Photographic Resources Center, Mediaterra 2001, and Experimenta 02. His current areas of interest include webcams, the landscape, and text in all forms. His written work has been published in Art Journal and Sandbox. He earned an MFA from CalArts in 1995 in photography, and is now an Assistant Professor in the Department of Visual and Media Arts at Emerson College, where he teaches classes in interactive media.
www.brookeknight.com
The Library
by Brooke A. Knight
The Library
02/07
A library is a space that - like museums, churches, and casinos - suspends the passage of time as we understand it in our normal lives. One afternoon in Chicago, I found myself in the Harold Washington Library, which, on its top floor, has no books. Trying to convey the quietude of the place and engaged by the patterns used to impart the solidity, earnestness, and importance of the library, I used my cell phone to shoot some video. The cell as a capture device is unassuming, quiet, small, and quick. It also produces moving images where the compression becomes part of the composition, sometimes beautifully. Rather than tell a story, I am interested in relating a mood and some thoughts about the nature of the library.
Brooke A. Knight is an artist and educator who has been working with digital media for over a dozen years. He has exhibited in over 40 international and regional shows, including The Danforth Museum, Photographic Resources Center, Mediaterra 2001, and Experimenta 02. His current areas of interest include webcams, the landscape, and text in all forms. His written work has been published in Art Journal and Sandbox. He earned an MFA from CalArts in 1995 in photography, and is now an Assistant Professor in the Department of Visual and Media Arts at Emerson College, where he teaches classes in interactive media.
www.brookeknight.com
Jan - Feb 2007
ANTONIO MEDOZA
imagepirate
Combining manipulated video clips, old movies, found footage, cnn reports, processed noise and computer code, imagepirate.com creates an active non-narrative mp4 browser assault that hijacks your desktop and channel-surfs the id.
This project uses the h264 codec for quicktime. To view it you'll need the latest version of the quicktime plug-in. You might also have to turn off the pop-up blocker in your browser.
Antonio Mendoza, the son of Cuban exiles, was born in Miami, Florida, and raised in Madrid, Spain. After receiving a degree in Semiotics from Brown University, he moved to Los Angeles where he lives with his wife, two children, a dog, and five working computers. His digital work has been shown throughout the world, including the FILE Festival in Brazil, the Piemonte Share Festival in Italy, the Stuttgarter Filmwinter Festival in Germany, the CIBER@RT International Festival of New Technologies, Art and Communication in Spain, the Chiangmai New Media Art Festival in Thailand, the Liverpool Biennial in the UK, the Museo Tamayo de Arte Contemporaneo in Mexico, and the Montréal International Festival of New Cinema and New Media. In 2006 he was crowned World Cyber Wrestling Net Champion of the WWW at the NODE.London Festival.
His websites include:
www.subculture.com
www.mayhem.net
www.mrtamale.com
ANTONIO MEDOZA
imagepirate
Combining manipulated video clips, old movies, found footage, cnn reports, processed noise and computer code, imagepirate.com creates an active non-narrative mp4 browser assault that hijacks your desktop and channel-surfs the id.
This project uses the h264 codec for quicktime. To view it you'll need the latest version of the quicktime plug-in. You might also have to turn off the pop-up blocker in your browser.
Antonio Mendoza, the son of Cuban exiles, was born in Miami, Florida, and raised in Madrid, Spain. After receiving a degree in Semiotics from Brown University, he moved to Los Angeles where he lives with his wife, two children, a dog, and five working computers. His digital work has been shown throughout the world, including the FILE Festival in Brazil, the Piemonte Share Festival in Italy, the Stuttgarter Filmwinter Festival in Germany, the CIBER@RT International Festival of New Technologies, Art and Communication in Spain, the Chiangmai New Media Art Festival in Thailand, the Liverpool Biennial in the UK, the Museo Tamayo de Arte Contemporaneo in Mexico, and the Montréal International Festival of New Cinema and New Media. In 2006 he was crowned World Cyber Wrestling Net Champion of the WWW at the NODE.London Festival.
His websites include:
www.subculture.com
www.mayhem.net
www.mrtamale.com
Nov - Dec 2006
DAVID CLARK
Likewise
The uncanny, according to Freud, engenders a sensation of eerie familiarity sprung from the double in self-love - in the form of narcissism and the mirror image - and the double in death - in the form of spirits or ghosts. This grotesque "twin," "double," or "mirror" is represented in "Likewise" via the VCR's twin lines (||) presented as an interactive diptych screen. The random animations in each half unfold a stream-of-consciousness series of associations ranging from Sept 11 to Apollo 11, "2001 A Space Odyssey," "Psycho," Godard's "One Plus One" and Chaplin's "The Great Dictator." The parallel imagery of "Likewise" is heavily seeped with references to evolution, war, terror, destruction and parody (a double in itself) and constitutes a poignant critique of today's current rationalizing of mediatized images, both "real" and fictional.
Media artist and filmmaker David Clark (1963, Calgary, Alberta) is the writer and director of the net.art work "A is for Apple" (2002), the feature film "Maxwell''s Demon" (1998) and the installation "Chemical Vision" (2000). He received a M.F.A. from the School of the Art Institute of Chicago (1989), a B.F.A. from NSCAD (1985) and also studied at the Whitney Program in New York (1989-90). His media work has been featured at festivals and screenings worldwide including recently the Sundance Film Festival (Park City, 2003), SIGGRAPH (San Diego, 2003), the American Museum of the Moving Image (New York, 2003) and the European Media Arts Festival (Osnabrück, 2003). He teaches new media and film at the Nova Scotia College of Art and Design in Halifax.
For more information visit about David Clark click here
DAVID CLARK
Likewise
The uncanny, according to Freud, engenders a sensation of eerie familiarity sprung from the double in self-love - in the form of narcissism and the mirror image - and the double in death - in the form of spirits or ghosts. This grotesque "twin," "double," or "mirror" is represented in "Likewise" via the VCR's twin lines (||) presented as an interactive diptych screen. The random animations in each half unfold a stream-of-consciousness series of associations ranging from Sept 11 to Apollo 11, "2001 A Space Odyssey," "Psycho," Godard's "One Plus One" and Chaplin's "The Great Dictator." The parallel imagery of "Likewise" is heavily seeped with references to evolution, war, terror, destruction and parody (a double in itself) and constitutes a poignant critique of today's current rationalizing of mediatized images, both "real" and fictional.
Media artist and filmmaker David Clark (1963, Calgary, Alberta) is the writer and director of the net.art work "A is for Apple" (2002), the feature film "Maxwell''s Demon" (1998) and the installation "Chemical Vision" (2000). He received a M.F.A. from the School of the Art Institute of Chicago (1989), a B.F.A. from NSCAD (1985) and also studied at the Whitney Program in New York (1989-90). His media work has been featured at festivals and screenings worldwide including recently the Sundance Film Festival (Park City, 2003), SIGGRAPH (San Diego, 2003), the American Museum of the Moving Image (New York, 2003) and the European Media Arts Festival (Osnabrück, 2003). He teaches new media and film at the Nova Scotia College of Art and Design in Halifax.
For more information visit about David Clark click here
July 2006
PETER HORVATH
http://www.6168.org/triptych/index.html
TRIPTYCH: MOTION STILLNESS RESISTANCE
Triptych: Motion Stillness Resistance is a generative, video-based triptych that explores three dynamics: motion, stillness and resistance. Each panel of Triptych focuses on one dynamic and uses these as visual metaphors for universal emotive and cognitive states taken from and reflecting my personal experiences. In Triptych three separate video streams run simultaneously in three panels. These videos are randomly chosen from a central database of stored footage associated with each individual panel. Self-structuring and generative, each time Triptych is viewed the outcome is unique. There is no audio component to this work.
Peter Horvath works in video, sound, photo and new media. Camera in hand since age 6, he inhaled darkroom fumes until his late 20's, then began exploring time based art processes. He immersed himself in digital technologies at the birth of the Web, co-founded 6168.org, a site for net.art, and adopted techniques of photomontage which he uses in his net and print based works. Exhibitions include the Whitney Museum Of American Art's Artport, the 18th Stuttgarter Filmwinter (Stuttgart, Germany), FILE Electronic Language International Festival (Sao Paulo, Brazil), Video Zone International Video Art Biennial (Tel Aviv, Israel), the Musee national des beaux-arts du Quebec (Quebec City, Canada), as well as venues in New York, Tokyo, London, and numerous net.art showings. He is the recipient of commissions from Rhizome.org at The New Museum, NYC (2005) and Turbulence.org New Radio and Performing Arts, Boston (2004).
PETER HORVATH
http://www.6168.org/triptych/index.html
TRIPTYCH: MOTION STILLNESS RESISTANCE
Triptych: Motion Stillness Resistance is a generative, video-based triptych that explores three dynamics: motion, stillness and resistance. Each panel of Triptych focuses on one dynamic and uses these as visual metaphors for universal emotive and cognitive states taken from and reflecting my personal experiences. In Triptych three separate video streams run simultaneously in three panels. These videos are randomly chosen from a central database of stored footage associated with each individual panel. Self-structuring and generative, each time Triptych is viewed the outcome is unique. There is no audio component to this work.
Peter Horvath works in video, sound, photo and new media. Camera in hand since age 6, he inhaled darkroom fumes until his late 20's, then began exploring time based art processes. He immersed himself in digital technologies at the birth of the Web, co-founded 6168.org, a site for net.art, and adopted techniques of photomontage which he uses in his net and print based works. Exhibitions include the Whitney Museum Of American Art's Artport, the 18th Stuttgarter Filmwinter (Stuttgart, Germany), FILE Electronic Language International Festival (Sao Paulo, Brazil), Video Zone International Video Art Biennial (Tel Aviv, Israel), the Musee national des beaux-arts du Quebec (Quebec City, Canada), as well as venues in New York, Tokyo, London, and numerous net.art showings. He is the recipient of commissions from Rhizome.org at The New Museum, NYC (2005) and Turbulence.org New Radio and Performing Arts, Boston (2004).
May-June 2006
YOUNG-HAE CHANG HEAVY INDUSTRIES
http://www.yhchang.com/SO_SO_SOULFUL.html
SO, SO SOULFUL
SO, SO SOULFUL is about a guy in Tokyo who is intent on going to Detroit with his girlfriend.
YOUNG-HAE CHANG HEAVY INDUSTRIES (http://www.yhchang.com) is in Seoul. Its C.E.O. is Young-hae Chang (Korea), its C.I.O. Marc Voge (U.S.A.).
YOUNG-HAE CHANG HEAVY INDUSTRIES
http://www.yhchang.com/SO_SO_SOULFUL.html
SO, SO SOULFUL
SO, SO SOULFUL is about a guy in Tokyo who is intent on going to Detroit with his girlfriend.
YOUNG-HAE CHANG HEAVY INDUSTRIES (http://www.yhchang.com) is in Seoul. Its C.E.O. is Young-hae Chang (Korea), its C.I.O. Marc Voge (U.S.A.).
April-May 2006
Jillian McDonald / Snow Stories
http://www.jillianmcdonald.net/snowstories
Snow Stories
Born in the dead of winter on a flat prairie landscape in the middle of a snowstorm, I grew up in snow. I learned to revere the winter and revel in it. It's a familiar mix, at the first sign of snow our eyes sparkle and our spines tingle - though the whitened landscape is enchanting it carries a certain dread.
Snow Stories is an interactive website where the visitor's experience depends on their own experience in snow. Essentially it is a story re-mixer driven by data - stories, provided by visitors.
Upon entering the site, the viewer is invited to share a written story about snow - fantasy, memory, or dream. Behind the scenes, the story is scanned for key words that match a database of parameters such as mood, landscape, danger, weather, population, and animals. Audio, video, and animation clips, stored in the database as well are similarly tagged. The visitor's story is translated into a non-linear movie based on the results of the text scan parameters, and the compiled film is displayed in a snowglobe.
Like a crystal ball, the snowglobe serves as visual portal, and can be shaken to 'stir up the snow'. Like no two snowflakes are exactly alike, nor do two stories unfold in the same way.
Visitors are further invited to contribute snow-related images and sounds to the database, which are dynamically added to the mix.
Snowstories received generous support from Harvestworks in New York, The Canada Council for the Arts, Experimental Television Center in New York State, and Pace University.
Jillian McDonald is a Canadian artist working in New York.
Her conscious exhibition strategies engage an audience comprised of a very general public that is not necessarily expecting art or gathered in established arts venues. She aims to interrupt the flow of quotidian public exchange, inviting strangers into momentary relationships. She creates websites that infiltrate and participate in online fan culture, offers advice to strangers from storefronts, and finds reasons to enter into the homes of strangers. Sylvie Fortin (Art Papers Magazine, Sept / Oct 2005) writes of her practice, "relationships are her medium, fleeting encounters her material".
McDonald's work has been shown recently at The Whitney Museum's Artport; Year Zero One in Toronto; Manifestation d'Art Internationale de Quebec; 404 International Festival of Electronic Art in Argentina; BananaRAM in Italy; The Sundance Online Film Festival in Park City, Utah; The Cleveland International Performance Art Festival; La Biennale de MontreApril-Mayal; ISEA 2004 in Talinn, Estonia; and the Centre d'Art Contemporain de Basse-Normandie in France. Recent solo shows included Jack the Pelican Presents in New York, vertexList in Brooklyn, TPW (presented at The Drake Hotel) and YYZ in Toronto, Video Pool in Winnipeg, and Edge Media in Newfoundland.
She has received grants from The Canada Council for the Arts, Soil New Media, Turbulence, The Gunk Foundation, NYSCA, The Experimental Television Center, Thirdplace.org, and Pace University.
for more information visit: www.jillianmcdonald.net
Jillian McDonald / Snow Stories
http://www.jillianmcdonald.net/snowstories
Snow Stories
Born in the dead of winter on a flat prairie landscape in the middle of a snowstorm, I grew up in snow. I learned to revere the winter and revel in it. It's a familiar mix, at the first sign of snow our eyes sparkle and our spines tingle - though the whitened landscape is enchanting it carries a certain dread.
Snow Stories is an interactive website where the visitor's experience depends on their own experience in snow. Essentially it is a story re-mixer driven by data - stories, provided by visitors.
Upon entering the site, the viewer is invited to share a written story about snow - fantasy, memory, or dream. Behind the scenes, the story is scanned for key words that match a database of parameters such as mood, landscape, danger, weather, population, and animals. Audio, video, and animation clips, stored in the database as well are similarly tagged. The visitor's story is translated into a non-linear movie based on the results of the text scan parameters, and the compiled film is displayed in a snowglobe.
Like a crystal ball, the snowglobe serves as visual portal, and can be shaken to 'stir up the snow'. Like no two snowflakes are exactly alike, nor do two stories unfold in the same way.
Visitors are further invited to contribute snow-related images and sounds to the database, which are dynamically added to the mix.
Snowstories received generous support from Harvestworks in New York, The Canada Council for the Arts, Experimental Television Center in New York State, and Pace University.
Jillian McDonald is a Canadian artist working in New York.
Her conscious exhibition strategies engage an audience comprised of a very general public that is not necessarily expecting art or gathered in established arts venues. She aims to interrupt the flow of quotidian public exchange, inviting strangers into momentary relationships. She creates websites that infiltrate and participate in online fan culture, offers advice to strangers from storefronts, and finds reasons to enter into the homes of strangers. Sylvie Fortin (Art Papers Magazine, Sept / Oct 2005) writes of her practice, "relationships are her medium, fleeting encounters her material".
McDonald's work has been shown recently at The Whitney Museum's Artport; Year Zero One in Toronto; Manifestation d'Art Internationale de Quebec; 404 International Festival of Electronic Art in Argentina; BananaRAM in Italy; The Sundance Online Film Festival in Park City, Utah; The Cleveland International Performance Art Festival; La Biennale de MontreApril-Mayal; ISEA 2004 in Talinn, Estonia; and the Centre d'Art Contemporain de Basse-Normandie in France. Recent solo shows included Jack the Pelican Presents in New York, vertexList in Brooklyn, TPW (presented at The Drake Hotel) and YYZ in Toronto, Video Pool in Winnipeg, and Edge Media in Newfoundland.
She has received grants from The Canada Council for the Arts, Soil New Media, Turbulence, The Gunk Foundation, NYSCA, The Experimental Television Center, Thirdplace.org, and Pace University.
for more information visit: www.jillianmcdonald.net
Jan-Feb 2006
JIMPUNK
~ 1n - 0ut [meditation] ~
http://www.jimpunk.com/1n-0ut/
Jimpunk has participated in various international new media festivals, including Rhizome Artbase 101 for New Museum of Contemporary Art, runme.org festival, European Media Art Festival, break21_6th International Festival of Young Emerging Artists, FILE-2002 electronic language international festival, Impakt Festival 2002, machida museum art on the net 2002. Winner of the CYNETart_award 2004 -Trans-Media-Akademie Hellerau in 2004
for more information on jimpunk:
http://www.jimpunk.com/info/jimpunk_bio.txt
JIMPUNK
~ 1n - 0ut [meditation] ~
http://www.jimpunk.com/1n-0ut/
Jimpunk has participated in various international new media festivals, including Rhizome Artbase 101 for New Museum of Contemporary Art, runme.org festival, European Media Art Festival, break21_6th International Festival of Young Emerging Artists, FILE-2002 electronic language international festival, Impakt Festival 2002, machida museum art on the net 2002. Winner of the CYNETart_award 2004 -Trans-Media-Akademie Hellerau in 2004
for more information on jimpunk:
http://www.jimpunk.com/info/jimpunk_bio.txt
March-April 2006
MICHAEL TAKEO MAGRUDER
Re_collection
http://www.takeo.org/nspace/ns016/
Re_collection is the product of one of the most ubiquitous technologies - the mobile phone. A captured moment, precious and instilled with personal significance, provides the exclusive source material for the artwork. The recorded sequence - stripped of resolution and apparent depth, has become depersonalised, reduced to a minimalist aesthetic that reveals archetypal forms and the inherent emotional connotations they evoke. Through this purposeful paring back of detail the divisions between personal and universal are questioned. It is a search to reveal the underlying 'truth' to these, our most intimate of recollections that exist between dream and remembrance.
Process: [ 08.05.2005 : Hyde Park, London, UK ] A subject was recorded without direction utilising only a SVP c500 smartphone as a cinematic device. From the resulting material a single 14 second audio/video stream was extracted and used (with only minor editing/manipulation) as the exclusive source material for the artwork.
Artist Information: Michael Takeo Magruder is an American artist based in the UK who works within the fields of New and Interactive Media. He received his formal education at the University of Virginia, USA, graduating with distinction in Biological Sciences.
For the past decade his artistic practice has reflected upon society's data-driven and information-saturated existence through the examination of international news communications. By recombining the notions of art and media, he has analysed interconnections between the individual and the pervasive media network; a questioning of product vs. process, knowledge vs. stimulation, fact vs. perspective.
for more information visit: www.takeo.org
MICHAEL TAKEO MAGRUDER
Re_collection
http://www.takeo.org/nspace/ns016/
Re_collection is the product of one of the most ubiquitous technologies - the mobile phone. A captured moment, precious and instilled with personal significance, provides the exclusive source material for the artwork. The recorded sequence - stripped of resolution and apparent depth, has become depersonalised, reduced to a minimalist aesthetic that reveals archetypal forms and the inherent emotional connotations they evoke. Through this purposeful paring back of detail the divisions between personal and universal are questioned. It is a search to reveal the underlying 'truth' to these, our most intimate of recollections that exist between dream and remembrance.
Process: [ 08.05.2005 : Hyde Park, London, UK ] A subject was recorded without direction utilising only a SVP c500 smartphone as a cinematic device. From the resulting material a single 14 second audio/video stream was extracted and used (with only minor editing/manipulation) as the exclusive source material for the artwork.
Artist Information: Michael Takeo Magruder is an American artist based in the UK who works within the fields of New and Interactive Media. He received his formal education at the University of Virginia, USA, graduating with distinction in Biological Sciences.
For the past decade his artistic practice has reflected upon society's data-driven and information-saturated existence through the examination of international news communications. By recombining the notions of art and media, he has analysed interconnections between the individual and the pervasive media network; a questioning of product vs. process, knowledge vs. stimulation, fact vs. perspective.
for more information visit: www.takeo.org
August 2006
ABE AND MO SING THE BLOGS
a project by
MARISA OLSON AND ABE LINKOLN
http://www.linkoln.net/abeandmosingtheblogs/
ABE AND MO SING THE BLOGS
Blogs, like the Blues, have been credited with channeling "the voice of the people," but do blogs adhere to any one set of characteristics that defines them as a genre? And how might blogs be understood as public spaces, in light of the time-based performances that take place there?
Selecting the postings that comprise the greatest "hits" of some of their favorite blogs, Abe Linkoln & Marisa Olson "sing the blogs" in order to address these questions. While Linkoln's posts speak to musical genres at large, Olson's posts seek to find harmony with specific models. Both question the status of the author's voice...
The whole "album" is presented as a form of reblog, in an effort to self-reflexively dive into the meme culture that is its subject. The artists' blog gets situated as the site of a happening.
Linkoln & Olson frequently work in the blog format. Previous examples of their collaborative work include Universal Acid and Blog Art, and separate projects My Boyfriend Came Back from the War (Abe Linkoln's 2004 Blog Mix), Screenfull.net (Linkoln & Jimpunk), and Marisa's American Idol Audition Training Blog.
ABE AND MO SING THE BLOGS
a project by
MARISA OLSON AND ABE LINKOLN
http://www.linkoln.net/abeandmosingtheblogs/
ABE AND MO SING THE BLOGS
Blogs, like the Blues, have been credited with channeling "the voice of the people," but do blogs adhere to any one set of characteristics that defines them as a genre? And how might blogs be understood as public spaces, in light of the time-based performances that take place there?
Selecting the postings that comprise the greatest "hits" of some of their favorite blogs, Abe Linkoln & Marisa Olson "sing the blogs" in order to address these questions. While Linkoln's posts speak to musical genres at large, Olson's posts seek to find harmony with specific models. Both question the status of the author's voice...
The whole "album" is presented as a form of reblog, in an effort to self-reflexively dive into the meme culture that is its subject. The artists' blog gets situated as the site of a happening.
Linkoln & Olson frequently work in the blog format. Previous examples of their collaborative work include Universal Acid and Blog Art, and separate projects My Boyfriend Came Back from the War (Abe Linkoln's 2004 Blog Mix), Screenfull.net (Linkoln & Jimpunk), and Marisa's American Idol Audition Training Blog.
September 2006
NOBODY HERE
a project by
JOGCHEM NIEMANDSVERDRIET
http://www.nobodyhere.com
As Niemandsverdriet describes" NobodyHere started in 1998 as an experiment, just to see what I could do with all those notes, which were once meant to form a book. When I linked them all together, it worked a lot better as one large network, which the reader can explore and get lost in. As the site grew, I added more images, animations and eventually an insect forum and chat, where the audience could participate. The site got translated into Japanese. It won a Webby Award. And I'm glad to see people are still enjoying it. "
NOBODY HERE
a project by
JOGCHEM NIEMANDSVERDRIET
http://www.nobodyhere.com
As Niemandsverdriet describes" NobodyHere started in 1998 as an experiment, just to see what I could do with all those notes, which were once meant to form a book. When I linked them all together, it worked a lot better as one large network, which the reader can explore and get lost in. As the site grew, I added more images, animations and eventually an insect forum and chat, where the audience could participate. The site got translated into Japanese. It won a Webby Award. And I'm glad to see people are still enjoying it. "
October 2006
Blogroll.jodi.org
by Joan Heemskerk and Dirk Paesmans (jodi.org)
http://Blogroll.jodi.org
Jodi or jodi.org is a collective of two internet artists: Joan Heemskerk (the Netherlands) and Dirk Paesmans (Belgium). Their background is in photography and video art; since the mid-1990s they started to create original artworks for the World Wide Web. A few years later, they also turned to software art and artistic computer game modification. Since 2002, they have been in what has been called their "Screen Grab" period, making video works by recording the computer monitor's output while working, playing video games, or coding.
For more information visit
jodi.org
Blogroll.jodi.org
by Joan Heemskerk and Dirk Paesmans (jodi.org)
http://Blogroll.jodi.org
Jodi or jodi.org is a collective of two internet artists: Joan Heemskerk (the Netherlands) and Dirk Paesmans (Belgium). Their background is in photography and video art; since the mid-1990s they started to create original artworks for the World Wide Web. A few years later, they also turned to software art and artistic computer game modification. Since 2002, they have been in what has been called their "Screen Grab" period, making video works by recording the computer monitor's output while working, playing video games, or coding.
For more information visit
jodi.org