Le Petit Dummy - The Classics Presents (Robert Hodgin and William Lindmeier) (2009)




Le Petit Dummy - The Classics Presents (Robert Hodgin and William Lindmeier) (2009)

Labels: 2009, art, iPhone, iPhone Art, Le Petit Dummy, Robert Hodgin, The Classic Pesents, William Lindmeier

  ¶ 11:15 AM 0 Comments

  Sentimental Punk - Kurt Kren (1979)

Sentimental Punk - Kurt Kren (1979)

Labels: art, film, film art

  ¶ 12:24 AM 0 Comments

  /// - Rosa Menkman (2009)

/// - Rosa Menkman (2009)

Labels: art, artist, glitch, glitchery, musics, Rosa Menkman, video, video art

  ¶ 11:10 AM 0 Comments

  "i know, LOL" - Jake Elliott + Nicholas O'Brien (2008) yesterdaze Jake Elliott + Nicholas O'Brien created a short-lived Twitter Art project/account which has now "been suspended due to strange activity". i immediately Tweeted about it calling it Twitter Art, LOL.ART or webArt but Twitter calls it "spammy behavior."

Following the now suspended accout takes you to a standard explaination of why the account may be suspended. The reasons incl "If you are sending large numbers of @reply messages that are not genuine replies, you may be considered spam."

Their project, called "i know, LOL" was an account by the same name which was based on the Twitter API + listened for ppl saying "LOL" + then automatically replied to those Twitter users, saying "i know, LOL!"

what interests me here is that these (automated) replies were "not genuine" from the perspective of Twitter + that this form of Twitter Art, LOL.ART, webArt, New Media Art, etc... can so easily be understood/interpreted as "spammy behavior."

Labels: 2008, art, Jake Elliott, LOL, LOL.ART, new media art, Nicholas O'Brien, spam, Twitter, Twitter Art, webArt

  ¶ 11:10 AM 4 Comments

  z-buffering is overrated - repi (2008) z-buffering is overrated - repi (Sunday, April 13, 2008)

Labels: art, error, fail, Game, glitch, glitchery

  ¶ 3:10 PM 0 Comments

  SystemMiisgs_BKBWNGLNK - jon.satrom (2008.11.29)

SystemMiisgs_BKBWNGLNK - jon.satrom (2008.11.29)

Labels: .US, 2008, art, digitalPunk, dirty new media, ENEMY CHI noise, glitchery, IL, jon.satrom, Noise, video, video art

  ¶ 11:05 PM 0 Comments

  "The moment when our artist has regressed to the point of infinity and... is both the observer and the observed"
"Could you explain 'infinite regression' for us?" - Bill Bonds

"Roll the film.

I came prepared to do just that.

Now, here's a painting of a landscape. Now, the artist who painted that picture says ''Something is missing. What is it?'

'It is I myself who was part of the landscape I painted.'

So he mentally takes a step backward, or regresses, and paints a picture of the artist painting a picture ofthe landscape.

But still something is missing. That is still his real self painting the second picture.

So he regresses further, and paints a third.

A picture ofthe artist painting a picture of the artist painting a picture ofthe landscape.

And because something is still missing, he paints a fourth and a fifth until he paints a picture ofthe artist painting a picture ofthe artist painting a picture of the artist painting a picture of the artist painting a landscape." - Dr. Otto Hasselin

"So infinite regression, then, is..." - Bill Bonds

"The moment when our artist has regressed to the point of infinity and is part of the landscape he painted, and is both the observer and the observed." - Dr. Otto Hasselin

from:

Escape from the Planet of the Apes - Don Taylor (1971)

Labels: 1971, art, artist, Don Taylor, Escape from the Planet of the Apes, feedback, film, infinite, infinite regress, infinite regression, recursion

  ¶ 1:07 PM 1 Comments

  jonCates plays I <3 Presets - Jason Soliday (2008)
jonCates plays I <3 Presets - posted by Jason Soliday (2008) from joncates on Vimeo.

"23.11.08
Cates plays Presets

1 h4v3 3x4m1n3d m4p5 0f 7h3 (17y w17h 7h3 6r347357 (4r3, y37 h4v3 n3v3r 4641n f0und 7h3 Ru3 d’4u531|. - I <3 Presets (2 from joncates on Vimeo. Labels: david lee where are you now, remix, video posted by cranky at 3:04 PM"

jonCates plays I <3 Presets - Jason Soliday (2008)
http://www.ilovepresets.com/blog/2008/11/cates-plays-presets.php

Labels: art, artist, collaboration, david lee, david lee where are you now, I LOVE PRESETS, jonCates, remix, video

  ¶ 9:45 PM 0 Comments

  1 h4v3 3x4m1n3d m4p5 0f 7h3 (17y w17h 7h3 6r347357 (4r3, y37 h4v3 n3v3r 4641n f0und 7h3 Ru3 d’4u531|. - I <3 Presets (2008)
1 h4v3 3x4m1n3d m4p5 0f 7h3 (17y w17h 7h3 6r347357 (4r3, y37 h4v3 n3v3r 4641n f0und 7h3 Ru3 d’4u531|. - I <3 Presets (2 from joncates on Vimeo.

1 h4v3 3x4m1n3d m4p5 0f 7h3 (17y w17h 7h3 6r347357 (4r3, y37 h4v3 n3v3r 4641n f0und 7h3 Ru3 d’4u531|. - I <3 Presets (2008)
http://ilovepresets.com/555/999.html

(above is a video is documentation of a section of I <3 Presets website, an aspect of their ongoing project. The I <3 Presets website is itself a work of experimental New Media Art, Web Art, digitalPunk, Dirty New Media, glitchery && Noise. This site is also a part of the ongoing I <3 Presets project, a project that is most often articulated as a realtime audio video + noise project. I <3 Presets is a Chicago-based Noise band + an experimental Media Art project:

"As I LOVE PRESETS, Chicago-based sound and new media artists Rob Ray, Jon Satrom, and Jason Soliday do everything wrong the right way. The trio manipulates found sounds and animated GIFs on home-brewed equipment in spectacular live audio/video performances, breaking down, complicating, and glorifying instrument settings, tool presets, and art-making interfaces normally accepted as fixed and stable. From Excel spreadsheets and video games to hacked Casios and discarded drum machines, any and everything electronic is fair game. Tonight, the trio will play several new pieces and demo their latest instruments and a video game."

I LOVE PRESETS: http://ilovepresets.com)

Labels: archive, art, artist, digitalPunk, dirty new media, experimental New Media Art, glitch, glitchery, group, I LOVE PRESETS, Noise, r4WB1t5, site, web, Web Art, website, www

  ¶ 12:41 PM 0 Comments

  Disappearing Music for Face - Mieko Shiomi (1966)
Disappearing Music for Face - Mieko Shiomi (1966) from joncates on Vimeo.

Labels: 1964, art, artist, artware, constraint, film, film art, fluxus, instruction set, Media Art, Media Art Histories, Mieko Shiomi, musics, rule set, smile, Yoko Ono

  ¶ 10:17 AM 0 Comments

  notes from Installation discussion in Media Practices Marshall McLuhan: media environments; Media Studies; The Medium is the Message; probes

Installation Art; Media Art; Video Art; New Media Art

environmental media

inhabitable; art + life; art as environments vs objects or images; architectural

in museums + galleries or alternative spaces; or outside, i.e. site specific; or in artist constructed spaces

Land Art; Environmental Art; Earthworks

hard to sell, confronts commodification but Video Installation is increasingly more saleable now

Labels: art, edu, FVNM, Media Practices, SAIC, video, video art

  ¶ 10:34 AM 0 Comments

  MEDIA by Michael Archer from Installation Art
"MEDIA
The colonization by artists of the dream and desiring spaces of the media has been of specific political significance. Think, for example, of Barbara Kruger's use of the language of advertising, of Krzysztof Wodiczko's projections or the video installations of Dara Birnbaum, Nam June Paik, Marie-Jo Lafontaine and Gary Hill, and of the words of the U.S. artist Jenny Holzer which you find stuck up in phone booths, flickering across LED displays and pumping out from spectacolor advertising boards:

PROTECT ME FROM WHAT I WANT.

GO WHERE PEOPLE SLEEP AND SEE IF THEY'RE SAFE.

IT TAKES AWHILE BEFORE YOU CAN STEP OVER INERT BODIES AND GO AHEAD WITH WHAT YOU WERE WANTING TO DO.

Although these sentences are not specific they never the less refer in a very direct way to some of the major issues of contemporary existence - AIDS, homelessness, hunger and so on. A key feature of an art like this is that as well as delivering its message, it does so in terms which draw upon the way in which such problems are represented in the media. It is the mode of experience that matters, as much as what it is an experience of.
In the 1920's Laszlo Moholy-Nagy recognized that photography provided us with something else besides its extraordinary ability to represent the world. The 'photogram' or 'camera-less record of forms produced by light' freed photographic technologies from its dependent, reproductive function and indicated that it was 'in a fair way to bringing (optically) something entirely new into the world.' What Moholy-Nagy's 'painting with light' revel is that the manipulation of a medium creates its own space which, unlike the perspectival space of post-Renaissance painting, does not refer to 'real' space but exists alongside it. By extension, many more such 'technological spaces' can be entered by for example, switching on a video monitor, TV set, turntable, slide projector or tape deck. All these media, in addition to possessing the capability to record and represent an event to a spectator in another time and place to that in which it occurred, engender a mode of experience which is quite particular to themselves.
We inhabit these technological environments as much physically as psychologically, a fact which media theorist Marshall McLuhan perceived clearly. Writing in the early sixties he considered how the possibilities opened up by these new spaces radically undercut the conventional tendency to evaluate the cultural experience along the avant garde/kitsch axis. It is the 'depth of experience' provided by the electronic media that erodes the importance of distinctions such as 'high' and 'low' because:

[A]nything that is approached in depth acquires as much interest as the greatest matters. Because 'depth' means 'in interrelation', not isolation. Depth means insght, not point of view; and insight is a kind of mental involvement in process that makes the content of the item seem quite secondary.

Some from the loose association of artists around George Maciunas, known as Fluxus and working both in Germany and the U.S., began to explore these media spaces from the late fifties onwards. Nam June Paik in his work, first with sound and subsequently with video, offered situations in which the audience could interact with the technology, constructing their own 'messages' and thereby challenging the impenetrable authority of the media. For Random Access he cut up a pool of recorded tape and stuck the strips haphazardly on a wall. Playback equipment was provided with a portable head so that one could draw it across the desired selections of tape. Similarly, later set-ups allowed viewers to manipulate magnetic fields or feed sound signals into a TV monitor in order to modify and distort the image on the screen. Wolf Vostell incorporated television screens into paintings.
The limit case of this opening up of new environments. or at least, the one which preoccupies us at present, is the computerized world of virtual reality. Writing of virtual reality or cyberspace technology in 1990, Regina Cornwell said: 'The media has already pounced on it as the psychedelia of the 90s, of the telepornograhy of the future.' We witness this when, for example, we are priveleged with a 'missile's eye view' of the destruction of Baghdad and the compturized target-location of the bomber pilots during the Gulf War. 'This Nintendo war', Aimee Morgana called it. In general, bearing witness to the workings of the mass media by, for example, watching a film or TV programme, or listening to a record, implicates the viewer/listener as a straightforward consumer of spectacle. The majority of the artists in this section, from Peter Fend's proposals for the reshaping of the geopolitical map through Antoni Muntadas's reflection on the phenomenon of television evangelism to Christian Marclay's irreverent treatment of long-playing records, use information technology and the conventions of mass communications to destabilize the authority and power of that spectacle."

from: Installation Art - by by Nicolas de Oliveira, Nicola Oxley, Michael Petry, Michael Archer (1994)

Labels: art, edu, FVNM, Media Practices, SAIC, video, video art

  ¶ 7:23 AM 0 Comments

  Notes on Expanded Cinema





"Influenced by Buckminster Fuller’s spheres, VanDerBeek had the idea for a spherical theater where people would lie down and experience movies all around them. Floating multi-images would replace straight one-dimensional film projection. From 1957 on, VanDerBeek produced film sequences for the Movie-Drome, which he started building in 1963. His intention went far beyond the building itself and moved into the surrounding biosphere, the cosmos, the brain and even extraterrestrial intelligence."

(from: Jürgen Claus in Leonardo, Vol. 36, No. 3, 2003, p. 229.)

"Unlike Levine's work, the effect of Wipe Cycle, by the young New York artists Frank Gillette and Ira Schneider, was to integrate the viewer and his local environment into the larger macrosystem of information transmission. Wipe Cycle was first exhibited at the Howard Wise Gallery in New York in 1969. It consisted of nine monitors whose displays were controlled by synchronized cycle patterns of live and delayed feedback, broadcast television, and taped programming shot by Gillette and Schneider with portable equipment. These were displayed through alternations of four programmed pulse signals every two, four, eight, and sixteen seconds. Separately, each of the cycles acted as a layer of video information, while all four levels in concert determined the overall composition of the work at any given moment.

"The most important function of Wipe Cycle," Schneider explained, "was to integrate the audience into the information. It was a live feedback system which enabled the viewer standing within its environment to see himself not only now in time and space, but also eight seconds ago and sixteen seconds ago. In addition he saw standard broadcast images alternating with his own delayed/live image. And also two collage-type programmed tapes, ranging from a shot of the earth, to outer space, to cows grazing, and a 'skin flick' bathtub scene."

"It was an attempt," Gillette added, "to demonstrate that you're as much a piece of information as tomorrow morning's headlines— as a viewer you take a satellite relationship to the information. And the satellite which is you is incorporated into the thing which is being sent back to the satellite. In other words, rearranging one's experience of information reception."8 Thus in Wipe Cycle several levels of time and space were synthesized into one audio-visual
experience on many simultaneous frequencies of perception. What is, what has been, and what could be, were merged into one engrossing teledynamic continuum and the process of
communication was brought into focus." (from: Closed-Circuit Television and Teledynamic Environments, Expanded Cinema; Gene Youngblood; p. 341 - 343)




"EVE is a research and development project initiated at the ZKM Karlsruhe in cooperation with the Forschungszentrum Karlsruhe. It encompasses the conceptual and technical development of a new form of interactive immersive visualisation environment and virtual-reality apparatus.

In the centre of a large inflatable dome, two video projectors are mounted on a motorised pan/tilt device (e.g. robot arm) which can move the projected image anywhere over the inside surface of the dome. The two video projectors present a stereo pair of images - the viewers wearing polarising spectacles can see the projected imagery in three dimensions.

One of the visitors to EVE wears a helmet (or a 'miner's lamp') with an attached spatial tracking device that identifies the position and angle of his head. This controls the positioning of video projectors so that the projected image always follows the direction of the viewer's gaze. In this way the viewer can move the picture frame over the entire dome surface and interactively explore the computer-generated virtual scenographies which are presented there. A joystick also allows the viewer to control his forwards and backwards movement in the surrounding virtual space."

(from: Jeffrey Shaw's website)

Labels: art, edu, FVNM, Media Practices, SAIC, video, video art

  ¶ 6:59 AM 0 Comments

  we scream for full screen - Valerie Brewer and Alex Inglizian (2008)

we scream for full screen - Valerie Brewer and Alex Inglizian (2008)
http://creepysleepovers.wordpress.com/

Labels: art, digitalPunk, dirty new media, glitchery, new media art, video, video art

  ¶ 8:51 AM 0 Comments

  today in my new Second Life on Help Island today, as i was living my new Second Life + working on my Second Life Sky Studies on Help Island, i experienced a few endearing moments...

00. this 1rst moment is'nt so much endearing as just aweSum: i put on a metal-cyber-dragon-armor w/a jetpack that i found in the Freebies on Help Island


01. i encountered a collection of artworks on exhibit in the "demo area" which represented multiple galleries in SL. i found my self standing in front of piece trying to decide how to feel about it + how to emote that feeling. i felt alone so i practiced a few different responses to the work using Gestures. i think Muscle was the most accurate in communicating how i was feeling




02. i wasn't alone in the "demo area" while i was in the SL art exhibit, another noob was there + he asked me how to get his hair back b/c he had detached it from his head :)



03. i saw a UFO in the sky while filming my Second Life Sky Studies. i think it was the other noob's hair. it had grown to a terrible monstrous size once he had detached it + it seemed to have a will of it's own. but i could be projecting, these are all fantasy machines anyways right?


04. i was about to click the link to leave Help Island when the advice that 01 cannot return to Help Island sank in a little too close for comfort so i didn't click it. instead i went for a walk + found this nice place to sit + look@ the sky underneath a single weeping willow. earlier in the day i had been on a RL walk thinking about weeping willows so it was heartwarming to encounter 01 in SL. also the view from there was great + i was able to film more Second Life Sky Studies before leaving


05. on leaving Help Island i stood in SL in front of a "Willkommen" sign as i sat in RL in Linz, Austria


06. after i left i also encountered another SL art exhibition. this exhibition was the work of Cae Sands which are soft landscapes + abstractions that seem to follow natural forms. i felt like this was a good indicator that i am on an appropriate path w/my Second Life Sky Studies as they are also SL-specific (abstracted) landscapes (skyscapes) albeit in a different direction that Cae Sands' style of SL-specific art

Labels: art, Second Life, SL, Theoretical Magic

  ¶ 11:49 AM 0 Comments

  Second Life Sky Studies yesterday i started a new project, Second Life Sky Studies. this is a web-based video/new media art project that looks @ the skyscapes of Second Life. this project is also part of my ongoing development of metamachinima, machinima about machinima. Second Life Sky Studies will also autobiographically accompany my new Second Life, w/my new account "Theoretical Magic" which i will occasionally be posting about here.

Labels: art, infinite, loop, machinima, metamachinima, new media art, palindrome, SecondLife, SL, video, video art

  ¶ 11:40 AM 0 Comments