<br />RHIZOME DIGEST: April 21, 2006<br /><br />++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++<br /><br />Content:<br /><br />+opportunity+<br />1. Lauren Cornell: AIRtime ­ Transmission Residencies at free103point9<br />Wave Farm in Upstate New York<br />2. milton@ohio.edu: The @Lab New Media Residency Program<br /><br />+announcement+<br />3. Turbulence: UPGRADE! BOSTON: MICHAEL MITTELMAN<br />4. marc: New Reviews, interviews & Articles on Furtherfield.org April 06<br />5. candice@motihasson.com: Shirley Shor, opening reception at Moti Hasson<br />Gallery, NY<br />6. basak senova: the upgrade!istanbul #5<br />7. Pau Waelder: Ars Electronica 2006 "Simplicity - the art of complexity"<br /><br />+comment+<br />8. Anna Orrghen: Review: Ken Goldberg's Ballet Mori<br /><br />+thread+<br />9. andre@pixelplexus.co.za, Alexis Turner, curt cloninger, Pall Thayer,<br />Geert Dekkers, Eric Dymond, Ryan Griffis, Nad, Dirk Vekemans, curt<br />cloninger: considering abstraction in digital art?<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering Organizational Subscriptions, group memberships<br />that can be purchased at the institutional level. These subscriptions<br />allow participants at institutions to access Rhizome's services without<br />having to purchase individual memberships. For a discounted rate, students<br />or faculty at universities or visitors to art centers can have access to<br />Rhizome?s archives of art and text as well as guides and educational tools<br />to make navigation of this content easy. Rhizome is also offering<br />subsidized Organizational Subscriptions to qualifying institutions in poor<br />or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for<br />more information or contact Lauren Cornell at LaurenCornell@Rhizome.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />From: Lauren Cornell <laurencornell@rhizome.org><br />Date: Apr 17, 2006<br />Subject: AIRtime Transmission Residencies at free103point9 Wave Farm in<br />Upstate New York.<br /><br />New residency program in upstate NY. See below for details, Lauren<br /><br />AIRtime Transmission Residencies at free103point9 Wave Farm in Upstate<br />New York.<br /><br />E-mail/Postmark deadline May 1, 2006<br /><br />AIRtime residencies provide a valuable space for artists to pursue new<br />transmission works with access to equipment and technical support, and<br />conduct important research about the genre using free103point9's resource<br />library. Residencies are available by application. Approximately ten<br />artists are selected each season. Residents are provided with a $150<br />stipend and meals during their stay.<br /><br />Residents are housed in a private cabin with WiFi access, on<br />free103point9's Wave Farm.Wave Farm features 30 retreat-like acres with<br />meadows, ponds, mountain views, and mature pine forests.<br /><br />Application Guidelines and More Information is available at:<br /><a rel="nofollow" href="http://www.free103point9.org/airtime.php">http://www.free103point9.org/airtime.php</a><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: milton@ohio.edu <milton@ohio.edu><br />Date: Apr 19, 2006<br />Subject: The @Lab New Media Residency Program<br /><br />The Aesthetic Technologies Lab of the Ohio University College of Fine Arts<br />is pleased to announce its New Media Residency Program.<br /><br />We seek to appoint a New Media Artist-in-Residence for each quarter of the<br />upcoming academic year (2006 / 2007) starting 15th August 2006.<br /><br />The @Lab develops and supports artistic projects working at the<br />intersection of fine arts practice and technological innovation.<br />Established in 2004 and based in the Appalachian foothills of Ohio, it is<br />a vibrant center of interdisciplinary research and development, and<br />collaborative experimentation in new media arts encompassing teaching,<br />research, and project conceptualization and management.<br /><br />NEW MEDIA ARTIST-IN-RESIDENCE<br />10-week residencies beginning 15th August 2006; 1st January 2007; and<br />15th March 2007.<br /><br />Summary<br />We are seeking an experienced and motivated new media artist with a<br />significant portfolio and a growing publication and/or exhibition record<br />for digital / mediated work. You will have a national or international<br />reputation and possess excellent skills with digital tools and/or web<br />design as well as the ability to teach online and in person. You will be<br />familiar with new media forms and the digital arts community and have<br />proven ability to work independently and with a team.<br /><br />You will spend 60% of your time developing a substantial new media piece<br />of your own for an exhibition launch towards the conclusion of your<br />residency period and 40% of your time contributing to the intellectual and<br />collaborative life of the @Lab by hosting courses, workshops, lectures,<br />and outreach events.<br /><br />You will be required to reflect upon your practice via an ongoing public<br />online journal as part of your development time. There will be many<br />opportunities to benefit from the support, advice and resources of the<br />College of Fine Art community, and the @Lab staff.<br /><br />This residency includes a competitive compensation, housing, some meals,<br />travel arrangements to Athens, OH, a materials budget, some marketing,<br />advertising and event support, and onsite resources for project<br />development.<br /><br />To Apply:<br />Please submit your CV, a sample of your works and publication list, as<br />well as a course outline and letter of interest to:<br /><br />Dr. Katherine Milton<br />The Aesthetic Technologies Lab<br />235 Putnam Hall - Ohio University<br />Athens, OH 45701<br />(740) 591-4579<br />milton@ohio.edu<br />Interviews<br />Short-listed applicants will be invited to give a presentation to a small<br />group and attend an interview. We will pay reasonable travel expenses to<br />interview from locations inside US. We regret we cannot pay interview<br />expenses to applicants traveling from outside the US.<br />COMPENSATION DETAILS<br /><br />10-week Residency Artist focusing on New Media Arts<br /><br />Seeking 1 artist per Ohio University academic quarter, to begin:<br />15th of August 2006;<br />1st of January 2007, and<br />15th of March 2007.<br /><br />Itemization of Compensations:<br /><br />Artist's fee: $8,000 / per 10-week quarter<br /><br />Travel: To/From Athens, OH<br /><br />Housing: On or near-campus housing will be provided<br /><br />Meals: 80 - meals covered with a campus meal plan card<br /><br />Project Support: $2,500 for materials and necessities to enable the project<br />Total Compensation in fees, materials, travel and accommodations exceeds<br />$16,000.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Support Rhizome: buy a hosting plan from BroadSpire<br /><br /><a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a><br /><br />Reliable, robust hosting plans from $65 per year.<br /><br />Purchasing hosting from BroadSpire contributes directly to Rhizome's<br />fiscal well-being, so think about about the new Bundle pack, or any other<br />plan, today!<br /><br />About BroadSpire<br /><br />BroadSpire is a mid-size commercial web hosting provider. After conducting<br />a thorough review of the web hosting industry, we selected BroadSpire as<br />our partner because they offer the right combination of affordable plans<br />(prices start at $14.95 per month), dependable customer support, and a<br />full range of services. We have been working with BroadSpire since June<br />2002, and have been very impressed with the quality of their service.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: Turbulence <turbulence@turbulence.org><br />Date: Apr 18, 2006<br />Subject: UPGRADE! BOSTON: MICHAEL MITTELMAN<br /><br />< UPGRADE! BOSTON: MICHAEL MITTELMAN ><br /><a rel="nofollow" href="http://www.turbulence.org/upgrade/archives/04_27MM.html">http://www.turbulence.org/upgrade/archives/04_27MM.html</a><br /><br />Michael Mittelman is an artist, educator and publisher. His work, ranging<br />from net art to interactive installation, has been exhibited throughout<br />New England and abroad. As publisher of ASPECT Magazine, Michael has<br />created a channel for contemporary new media artists to deliver their work<br />to a wider audience, while simultaneously enabling educators to show video<br />directly from artists. Michael's current body of work, "Alternative<br />Domestic" explores psychological, cultural and social issues in the<br />framework of a domestic apartment.<br /><br />When: April 27, 7:00-9:00 p.m.<br />Where: Art Interactive, 130 Bishop Allen Drive, at the corner of Prospect<br />Street, Cambridge<br /><br /><< NEXT: AN EVENING OF SOUND ART WITH JEFF TALMAN AND HELEN THORINGTON >><br /><a rel="nofollow" href="http://www.turbulence.org/upgrade/archives/05_06JT.html">http://www.turbulence.org/upgrade/archives/05_06JT.html</a><br /><a rel="nofollow" href="http://www.turbulence.org/upgrade/archives/05_06HT.html">http://www.turbulence.org/upgrade/archives/05_06HT.html</a><br /><br />When: May 2, 7:00-9:00 p.m.<br />Where: Art Interactive, 130 Bishop Allen Drive, at the corner of Prospect<br />Street, Cambridge<br /><br />The Upgrade! Boston schedule is available here:<br /><a rel="nofollow" href="http://www.turbulence.org/upgrade/archive.html">http://www.turbulence.org/upgrade/archive.html</a><br />Jo-Anne Green, Co-Director<br />New Radio and Performing Arts, Inc.: <a rel="nofollow" href="http://new-radio.org">http://new-radio.org</a><br />New York: 917.548.7780 . Boston: 617.522.3856<br />Turbulence: <a rel="nofollow" href="http://turbulence.org">http://turbulence.org</a><br />New American Radio: <a rel="nofollow" href="http://somewhere.org">http://somewhere.org</a><br />Networked_Performance Blog: <a rel="nofollow" href="http://turbulence.org/blog">http://turbulence.org/blog</a><br />Upgrade! Boston: <a rel="nofollow" href="http://turbulence.org/upgrade">http://turbulence.org/upgrade</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />From: marc <marc.garrett@furtherfield.org><br />Date: Apr 18, 2006<br />Subject: New Reviews, interviews & Articles on Furtherfield.org April 06.<br /><br />New Reviews, interviews & Articles on Furtherfield.org April 06.<br /><br /><a rel="nofollow" href="http://www.furtherfield.org">http://www.furtherfield.org</a><br /><br />-Mary Flanagan: Interviewed by Jess Laccetti.<br />-Free103point9 and Transmission Arts: Reviewed by María Victoria Guglietti.<br />-Chris Ashley - Look, See: Reviewed by Rob Myers.<br />-Flick Harrison's Interactive Cinema: Marie Tyrell - Article by Camille<br />Baker.<br />-FurtherCritic Article by [[Mez]]:<br />Unlearning Paris Hilton [vs: Reconstructing (Gender) Isabella].<br />On Abe Linkoln's video on 'isabelle-dinoire'.<br /><br />Mary Flanagan - Interviewed by Jess Laccetti.<br />————————————————–><br />An interview with Mary Flanagan by Jess Laccetti about the idea of<br />works-in-progress and issues around exploration. Flanagan's artwork has<br />been shown internationally at venues including the the Whitney Museum of<br />American Art 2002 Biennial, SIGGRAPH, Ars Electronica, Whitney Museum of<br />American Art's Artport, the Moving Image Centre in Auckland, Central Fine<br />Arts Gallery, New York, the Guggenheim, University of Arizona, University<br />of Colorado Boulder, New York Hall of Science, and galleries/events in<br />Spain, the UK, Norway, Japan, Denmark, Canada, Australia, Hong Kong,<br />France, Italy, Slovenia, and the US.<br />Interviewed by Jess Laccetti.<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreview.php?From=Index&review_id=179">http://www.furtherfield.org/displayreview.php?From=Index&review_id=179</a><br /><br />Free103point9 and Transmission Arts.<br />————————————————–><br />Since its emergence as a microcasting artist collective in 1997,<br />free103point9 has consistently pursued the legitimization and promotion of<br />transmission arts. Today, the clandestine collective is a non-profit arts<br />organization whose many ventures are: Project space -a gallery in<br />Brooklyn, New York-, Wavefarm -a research centre currently under<br />construction-, a radio lab, an on-line radio and a distribution label.<br />Aware of the need of defining transmission arts, free103point9 has<br />painstakingly theorized and documented the history and forms of<br />transmission art: radio and video art, performance, installation, light<br />sculptures. Textbooks and a growing on-line archive of transmission<br />artworks are two ways in which free103point9 consolidates the notion of<br />transmission arts.<br />Reviewer: María Victoria Guglietti.<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreview.php?From=Index&review_id=178">http://www.furtherfield.org/displayreview.php?From=Index&review_id=178</a><br /><br />Chris Ashley - Look, See.<br />————————————————–><br />Every day since 2002 Chris Ashley has created an abstract coloured drawing<br />in hand-coded HTML tables and posted it to his weblog ?Look, See?. The<br />structured format of a weblog frames these small but often complex works<br />perfectly. Weblogs are an informal medium and personal weblogs often have<br />the quality of a diary or consisting of a confessional nature. This is a<br />deflating context for art, one that in Chris's case allows some of the<br />aesthetic content of high and late modernism to be rehabilitated without<br />bathos. What was once meant to be universal is made personal, not with the<br />knowingness of Neo Geo but with a remixer's virtuosity and enthusiasm.<br />Reviewer: Rob Myers.<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreview.php?From=Index&review_id=180">http://www.furtherfield.org/displayreview.php?From=Index&review_id=180</a><br /><br />Flick Harrison's Interactive Cinema: Marie Tyrell.<br />————————————————–><br />The film ?Marie Tyrell? came to my attention when I was asked to moderate<br />the Cinematic Salon, a monthly informal community event in Vancouver,<br />hosted by Cineworks, a non-profit artist-run cinema centre. The Cinematic<br />Salon is meant to, ?provide an opportunity for dialogue around film<br />artistry, in which guest artists show and discuss their work, encourage<br />other filmmakers at all stages of their careers, as well as for<br />individuals simply interested in film, meet, discuss and learn from each<br />other?s experiences in film making.? This particular event was called<br />?Flick Harrison: Film Interactive? due to its interactive features as a<br />means to demystify or interrogate the narrative, politics and production<br />of the film.<br />Article by Camille Baker.<br /><a rel="nofollow" href="http://www.furtherfield.org/displayreview.php?From=Index&review_id=181">http://www.furtherfield.org/displayreview.php?From=Index&review_id=181</a><br /><br />FurtherCritic Article by [[Mez]].<br />————————————————–><br />Unlearning Paris Hilton [vs: Reconstructing (Gender) Isabella].<br />On Abe Linkoln's video on 'isabelle-dinoire'.<br /><br />[[Mez]] Explores Abe Linkoln's video on Isabelle Dinoire, the first person<br />to undergo a partial face transplant, after her dog mauled her in May<br />2005. Ideologically + representationally Paris Hilton has a surprising<br />amount in common with her [_House of] Wax_work_drenched performance in the<br />movie of the same name. In _House of Wax_ she portrays a pe[tulant]rpetual<br />bottle_x.tension_teen_sex.shell_blonde intent on conveying some<br />teen_tidbit 2 her jock _clichéd_b/friend.<br />How.eva…<br /><a rel="nofollow" href="http://www.furtherfield.org/furthercriticreview.php?review_id=20">http://www.furtherfield.org/furthercriticreview.php?review_id=20</a><br /><br />The FurtherCritic Residency series started early 2002, offering a range of<br />dynamic and critical reviews, interviews and articles to a diverse,<br />interested public. Starting with Lewis LaCook, it was continued by Ryan<br />Griffis and now with ]]Mez[[ (Maryanne Breeze).<br /><br />All FurtherCritic article's by [[Mez]], Ryan Griffis & Lewis Lacook can be<br />reach here:<br /><a rel="nofollow" href="http://www.furtherfield.org/furthercritic.php">http://www.furtherfield.org/furthercritic.php</a><br />If you want to be a reviewer on Furtherfield contact -<br />marc.garrett@furtherfield.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome ArtBase Exhibitions<br /><br /><a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a><br /><br />Visit "Net Art's Cyborg[feminist]s, Punks, and Manifestos", an exhibition<br />on the politics of internet appearances, guest-curated by Marina Grzinic<br />from the Rhizome ArtBase.<br /><br /><a rel="nofollow" href="http://www.rhizome.org/art/exhibition/cyborg/">http://www.rhizome.org/art/exhibition/cyborg/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: candice@motihasson.com <candice@motihasson.com><br />Date: Apr 19, 2006<br />Subject: Shirley Shor, opening reception at Moti Hasson Gallery, NY<br /><br />Shirley Shor: On the Fly<br />April 27 - May 27, 2006<br />Opening reception Thursday, April 27th, 2006, 6-9 PM<br />330 West 38th St, suite 211<br />www.motihasson.com<br /><br />Moti Hasson Gallery is pleased to present digital-media works by the<br />San-Francisco-based artist, Shirley Shor. This is this artist's first<br />solo show in New York.<br /><br />Shirley Shor received a BA in Art History and Philosophy from Tel-Aviv<br />University, and a MFA in Conceptual Information Art from San Francisco<br />State University. Her work has exhibited nationally and internationally,<br />including recent shows at the Berkeley Art Museum, Yerba Buena Center for<br />the Arts (San Francisco), SF Camerawork, Gallery Paule Anglim (San<br />Francisco), Ars Electronica (Linz), Carl Solway Gallery (Cincinnati), and<br />Herzliya Museum of Art (Tel-Aviv). Shor was a recipient of the 2003 Bay<br />Area Murphy Award in fine arts and her work was selected for inclusion in<br />the 2004 California Biennial at the Orange County Museum of Art. Shirley<br />Shor's work is part of several public collections, including the Orange<br />County Museum of Art, San Jose Museum of Art, and Berkeley Art Museum.<br />The following is an excerpt from a catalog essay by Irene Hofmann,<br />executive director of the Contemporary Museum in Baltimore:<br /><br />With dynamic forms, hypnotic movements, and a luminous palette, Shirley<br />Shor creates artworks that seduce and delight. Part of an emerging<br />generation of new-media artists who are redefining how computers can be<br />engaged in the creation of work, Shor makes real-time computer-generated<br />animations and installations that engage the spatial and temporal. In<br />Shor's works, animated fields of color, surface and line are in perpetual<br />fluid motion, expanding, merging, collapsing, and reforming with movements<br />and shapes that become metaphors for concepts such as conflict, language,<br />and the passage of time.<br /><br />Shor's works begin with a conceptual idea that is first expressed as a set<br />of rules governing an abstract animation of patterns, colors, surfaces,<br />and movements. The rules are then implemented as code in a software<br />program that runs on a personal computer in real-time to generate<br />ever-changing moving images. Each of Shor's images flow into the next, in<br />sequences that are never repeated. Once programmed, these animations<br />become projections onto walls or other preexisting architectural surfaces,<br />or are incorporated into freestanding or wall-mounted sculptural elements.<br />"In my work," writes Shor, "I think about space as a verb, as an action,<br />as a dynamic process that we are all taking part in. I recreate space by<br />constantly changing it. I do so by injecting real time virtual elements<br />into physical space and physical objects. The raw moments are a synthesis<br />between the code and the territory."<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org 2005-2006 Net Art Commissions<br /><br />The Rhizome Commissioning Program makes financial support available to<br />artists for the creation of innovative new media art work via<br />panel-awarded commissions.<br /><br />For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected<br />to create original works of net art.<br /><br /><a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a><br /><br />The Rhizome Commissions Program is made possible by support from the<br />Jerome Foundation in celebration of the Jerome Hill Centennial, the<br />Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and<br />the New York City Department of Cultural Affairs. Additional support has<br />been provided by members of the Rhizome community.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />From: basak senova <basak@nomad-tv.net><br />Date: Apr 19, 2006<br />Subject: the upgrade!istanbul #5<br /><br />|||||||||||||||||||||||||||||||||||||||||||||||||||||<br /><br />THE UPGRADE!ISTANBUL<br />NOMAD<br /><br />25th of April 2006<br />19:30- A performance by son:DA<br /><br />son:DA _ artistic alliance _ Golec/Horvat _ since 2000 _ (<br /><a rel="nofollow" href="http://sonda.kibla.org">http://sonda.kibla.org</a> ) has presented their work and performed in Moderna<br />galerija Ljubljana, Institute for contemporary art Sofia, MACRO Rome,<br />Kunstlerhaus Vienna, Tate modern London, The Renaissance society Chicago,<br />Stedelijk Amsterdam, Contemporary art museum St.Loise, at Musikprotokoll<br />am SteirischenHerbst Graz, International festival of animation in Utrecht,<br />Hiroshima and Zagreb, at Sammlung Essl and on different festivals in<br />Prague, Hull, Maribor, Florence, Berlin, Zagreb, Napoli alias on<br />different radio and television stations.<br /><br />son:DA is one of the guests of the Istanbul Residency Programme at<br />Platform Garanti supported by American Center Foundation.<br /><br />performative audio-video constellation 2003-2006<br />The technical support for this low-fi (analogical) constellation, with the<br />help of which the compositions are made possible, is made from a simple<br />sound interface alias coaxial cable, which reacts to the events, course<br />and changes within the picture electrons on the screen of<br />monitor-television and eventually, reacts to the simple touch of it. There<br />is also a analogical connection between audio and video signal, such as<br />video makes, manipulates, modulates audio signal and vice verse. A simple<br />electronic signal circle is possible. The before prepared and presented<br />(projected) pictorial alias audio compositions make up the scores. They<br />are fundamental materials for the performances and interactivity. The<br />duration of one loop is defined through the length of the pictorial-audio<br />composition-score. Manipulation occurs in treating and projecting the<br />audio and video signal into the system, into the constellation and into<br />the real space. Modulation happens during the process of the<br />performance-interactivity-improvisation with constellation, with this<br />low-tech music instrument. The pictorial material of the different<br />compositions includes and is represented by moving images (found footage<br />or original video recording), as well as animated static images, words and<br />numbers. Compositions could be also made out of new or found audio<br />samples alias out of very simple or complex sound scores.<br /><br />During the last three-year period has son:DA created a series of<br />compositions as technical constellations with their guests (unit 739.<br />nr.7-G. nr.27-1-2-3. for two monitors. for a question. for Europe.for<br />monitor, projector, bass and computer.nr.25. "composition ar_co").<br /><br />More on <a rel="nofollow" href="http://sonda.kibla.org/performances.html">http://sonda.kibla.org/performances.html</a> alias<br /><a rel="nofollow" href="http://sonda.kibla.org/constallations.html">http://sonda.kibla.org/constallations.html</a><br /><br />@ 17:00<br />due to the ongoing construction work, santralistanbul will host this<br />meeting at Istanbul Bilgi University, Dolapdere Campus, The Court Room.<br /><br />|||||||||||||||||||||||||||||||||||||||||||||||||||||<br /><br />The Upgrade! Istanbul is a monthly gathering for new media artists,<br />academicians, practitioners, curators and for all of the other actors of<br />digital culture, organized by NOMAD and hosted by santralistanbul.<br /><br />Upgrade! is an international, emerging network of autonomous nodes united<br />by art, technology, and a commitment to bridging cultural divides. Its<br />decentralized, non-hierarchical structure ensures that Upgrade! (i)<br />operates according to local interests and their available resources; and<br />(ii) reflects current creative engagement with cutting edge technologies.<br />While individual nodes present new media projects, engage in informal<br />critique, and foster dialogue and collaboration between individual<br />artists, Upgrade! International functions as an online, global network<br />that gathers annually in different cities to meet one another, showcase<br />local art, and work on the agenda for the following year.<br /><br />Current Nodes: Boston (United States), Chicago (United States), Lisbon<br />(Portugal), Johannesburg (South Africa), Istanbul (Turkey), Montreal<br />(Canada), Munich (Germany), New York (United States), Oklahoma City<br />(United States), Scotland, Seoul (South Korea), Sofia (Bulgaria), Tel Aviv<br />(Israel), and Vancouver (Canada).<br /><br />Future Nodes: Amsterdam (Netherlands), Athens (Greece), Liverpool (United<br />Kingdom), London (United Kingdom), Toronto (Canada), and Wellington (New<br />Zealand) will launch in the near future.<br /><br />Organizations: Eyebeam, Turbulence.org, New Media Scotland, Art Centre<br />Nabi, The Western Front, The Society for Arts and Technology (SAT),<br />InterSpace, i-camp, DCA, CCA, No-Org.net, Art Interactive,<br />NOMAD/santralistanbul, program angels/lothringer13, Open-Node.com,<br />t-u-b-e, C-M.TV, Lisboa 20, AT. joburg, and the University of the<br />Witwatersrand.<br /><br />Upgrade! Background: Since April 1999, a group of new media artists and<br />curators have gathered in New York City. The first meeting took place at a<br />bar in the east village with Tim Whidden & Mark River [MTAA], Mark Napier<br />and founder Yael Kanarek. Upgrade! New York partnered with Eyebeam in<br />March 2000.<br /><br />|||||||||||||||||||||||||||||||||||||||||||||||||||||<br /><br /><a rel="nofollow" href="http://www.nomad-tv.net/upgrade">http://www.nomad-tv.net/upgrade</a><br /><a rel="nofollow" href="http://www.nomad-tv.net">http://www.nomad-tv.net</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />From: Pau Waelder <pau@sicplacitum.com><br />Date: Apr 21, 2006<br />Subject: Ars Electronica 2006 "Simplicity - the art of complexity"<br /><br />>>>>>>>>>><br />SIMPLICITY - the art of complexity<br />>>>>>>>>>><br /><br />>>>>>><br />Increasingly complicated processes and interrelationships determine an<br />individual's life today. The upshot: a growing need to comprehend the big<br />picture. Ars Electronica 2006 focuses on the challenges of an epoch in<br />which complex systems seem to be omnipresent.<br />>>>>>><br /><br />Linz, April 21, 2006 (Ars Electronica). Few of us are even capable of<br />grasping any more all of the diverse computer-based processes that<br />accompany us through every aspect of life. This is a phenomenon that<br />inevitably marches in lockstep with a loss of control. After all, whether<br />it's our car's electronic glitch or the crash of our PC, the problems are<br />for the most part unfathomable and we can't fix them ourselves. At the<br />same time, there's the ever-growing amount of time expended ever more<br />frequently getting up to speed on new computer programs and devices.<br /><br />Tools originally conceived as ways to simplify life seem to have had just<br />the opposite effect. And while industrialized societies show signs of<br />being increasingly incapable of dealing with all the information that<br />incessantly inundates them, the majority of mankind living in<br />non-industrialized countries is still totally denied access to information<br />technology. Thus, the enormous positive potential of this tool remains<br />unused in important ways.<br /><br />In the words of Ars Electronica Artistic Director Gerfried Stocker: "The<br />challenge of the future will be to make complexity comprehensible and<br />manageable. Thus, simplicity in a positive sense means developing<br />intelligent strategies to facilitate access to technologies, to make them<br />more convenient, and to enable users to see what actually happens with the<br />information moving through them."<br /><br />Christine Schopf, co-director of the Festival together with Gerfried<br />Stocker, pointed out: "On one hand, this is a matter of technological<br />competence; on the other, and above all, this has to do with social<br />competence on the part of the individual, with decision-making<br />capabilities about how to utilize technology."<br /><br />Ars Electronica is confronting the challenges of a complex world. How can<br />we take optimal advantage of available opportunities? How can computer<br />programs be made user-friendlier and how can they be designed to let the<br />individual user assess the potential consequences of their use? What<br />characteristics ought to be displayed by hardware that lets all people<br />join Information Society. And which role do artists as trailblazers and<br />art as an experimental domain play in light of this immense and rapidly<br />moving deluge of information, options and permanent changes?<br /><br />The 2006 Ars Electronica Festival's theme symposium will be curated by<br />John Maeda who, in his capacity as world-renowned graphic designer, visual<br />artist and scholar at the MIT Media Lab, has been at the forefront of<br />thinking about simplicity in the Digital Age.<br /><br />>>>>>><br />Access, Overview, Responsibility<br />>>>>>><br /><br />A central focus of Simplicity is on software that users can operate in<br />intuitive way, something that gets us off to a great start in our effort<br />to deal with an increasingly complex world. The design of search engines<br />illustrates the potential of clear, simple solutions. Search engines<br />consist of highly complex systems made up of a wide variety of algorithms<br />that search through the contents of billions of websites. Be that as it<br />may-doing research in the Internet comes across as the simplest thing in<br />the world and is something we take completely for granted.<br /><br />Another item at the top of this year's agenda is access to adequate<br />hardware. Let's face it: while a part of the world is literally being<br />flooded with information, the majority of mankind is falling further and<br />further behind in the struggle to gain access to the democratic asset<br />"information." The reasons for this are often quite pragmatic. Benchmark<br />standards for a computer processor do not mandate smooth operation at 105<br />in the shade, under constant bombardment by desert sand and amidst<br />repeated interruption of the electrical supply. Affordable systems built<br />to handle adverse conditions and designed to concentrate on a few key<br />tasks could improve matters considerably. In this context, simplicity<br />means results-oriented alternatives to the manufacturers' permanent race<br />to achieve supremacy expressed in megahertz and gigabytes.<br /><br />Simplicity as a philosophy has to do more than automate processes.<br />Simplicity of the future means democratic access, userfriendliness and<br />full disclosure of how the features function and their potential risks.<br />Moreover, simplicity opens up a whole array of prospects to make the world<br />more ecological, easier to comprehend and more just.<br /><br />>>>>>><br />Ars Electronica 2006<br />>>>>>><br /><br />A series of speeches, discussions and artists' talks in wide-ranging<br />formats will be the highlights of an encounter with "Simplicity - the art<br />of complexity" from August 31 to September 5. Artists, software designers<br />and scientists will elaborate on theories, strategies and successful<br />approaches to managing complexity. The featured events on this year's<br />festival program include exhibitions, concerts and performances.<br />Ars Electronica<br />Presseteam: Partner der Medien<br />Press Team: Partner of the Media<br /><br />Pressemeldungen/Pressemappen<br />Press Releases/Press Kits<br /><<a rel="nofollow" href="http://www.aec.at/press">http://www.aec.at/press</a>><br /><br />Bilder (300 dpi)<br />Images (300 dpi)<br /><<a rel="nofollow" href="http://www.aec.at/pictures">http://www.aec.at/pictures</a>><br /><br />Mag. Wolfgang A. Bednarzek MAS<br />Pressesprecher / Press Officer<br /><br />tel: +43.732.7272-38<br />mob: +43.664.81 26 156<br />fax: +43.732.7272-638<br />icq: 263-963-828<br /><<a rel="nofollow" href="mailto:wolfgang.bednarzek@aec.at">mailto:wolfgang.bednarzek@aec.at</a>><br />Mag. Robert Bauernhansl<br />Assistent Pressebetreuung / Assistant Press<br />tel: +43.732.7272-966<br />fax: +43.732.7272-632<br /><<a rel="nofollow" href="mailto:robert.bauernhansl@aec.at">mailto:robert.bauernhansl@aec.at</a>><br /><br />Ars Electronica Center<br />Hauptstrasse 2-4, 4040 Linz, Austria<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />From: Anna Orrghen <anna.orrghen@sh.se><br />Date: Apr 18, 2006<br />Subject: Review: Ken Goldberg's Ballet Mori<br /><br />Ballet Mori and the Acoustic Unconscious<br />by Anna Orrghen<br /><br />April 18 is the 100-year anniversary of San Francisco's Great Earthquake.<br /><br />How can we understand sounds far too sublime to be perceived by the human<br />ear? This question was brought to the fore by a team of American media<br />artists led by UC Berkeley's Ken Goldberg in "Ballet Mori," performed at<br />the San Francisco Opera House April 4 to commemorate the 1906 Earthquake.<br />Muriel Maffre, a principal dancer of the SF Ballet, danced to sound<br />activated directly by the movements of the earth. Seismic data from the<br />Hayward fault was transmitted to the opera house via the Internet and<br />transformed into a soundscape by composer Randall Packer using Max/MSP.<br />All in real time. The performance brought to mind Walter Benjamin's<br />concept of the "optical unconscious." Just as the technology of<br />photography makes it possible to see things normally invisible to the<br />naked eye, Ballet Mori's networked sound system facilitates a meditation<br />on the "acoustic unconscious." It allows the audience to hear the sound<br />of the earth, which cannot be heard with the naked ear. The result was a<br />suggestive and very beautiful synaesthetic experience that challenged the<br />classical ballet audience and ordinary patterns of hearing. Video clips<br />are online at:<br /><a rel="nofollow" href="http://goldberg.berkeley.edu/art/Ballet-Mori/">http://goldberg.berkeley.edu/art/Ballet-Mori/</a><br /><br />Anna Orrghen is a PhD Candidate in Media and Communication Studies at<br />Stockholm University. She is currently finishing her dissertation, which<br />explores the process by which a new medium emerges, with special attention<br />to the discourses of art and Swedish mass media at the turn of the 21st<br />century. She also works as a cultural critic in Sweden. e-mail:<br />anna.orrghen@sh.se<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />9.<br /><br />From: andre@pixelplexus.co.za <andre@pixelplexus.co.za>, Alexis Turner<br /><subbies@redheadedstepchild.org>, curt cloninger <curt@lab404.com>, Pall<br />Thayer <p_thay@alcor.concordia.ca>, Geert Dekkers <geert@nznl.com>, Eric<br />Dymond <dymond@idirect.ca>, Ryan Griffis <ryan.griffis@gmail.com>, Nad<br /><nad@daytar.de>, Dirk Vekemans <dv@vilt.net>, curt cloninger<br /><curt@lab404.com><br />Date: Apr 19 - 21, 2006<br />Subject: considering abstraction in digital art?<br /><br />+andre@pixelplexus.co.za posted:+<br /><br />Hello List<br /><br />Just wondering, do you think Abstraction is?<br /><br />a. necessarily reductive in nature<br />b. actually inherently transcendental<br />c. both a and b above<br />d. depends, if we are talking performative, generative, iterative or<br />retronascent<br />e. none of the above , but?<br /><br />because?<br />+Alexis Turner replied:+<br /><br />Just wondering, do you think Abstraction is?<br />++++++<br />a. necessarily reductive in nature + b. actually inherently transcendental<br />+ d. becomes more interesting if we are talking performative, generative,<br />iterative or retronascent<br />++++<br />but, really,<br /><br />e. none of the above<br /><br />or, better still<br /><br />f. who cares<br />+++++<br />because?<br /><br />Your use of the term generic term Abstraction as opposed to the specific<br />Abstract Art leaves too many other delicious possibilities to consider.<br />+curt cloninger replied:+<br /><br />Hi Andre,<br /><br />I've been reading Paul Klee a lot lately, and I like his take on<br />abstraction. His answer might be "something like both a and b, with<br />certain caveats." If there is a spiritual or a transcendental, we are not<br />going to re-present it simply by drawing the surface of objects with<br />illusionary renaissance perspective. So to get at the<br />life/history/essence of an object, we have to try to represent that object<br />over time, which is hard to do in a single, static, 2D picture plane.<br /><br />So Klee developed a system of representation to try to get at the source<br />of what something is. And of course his paintings don't look exactly like<br />the surface of a thing. But they always have some relationship to the<br />surface of a thing, because the surface of a thing has at least something<br />to do with the essence of the thing. And since existence is very complex<br />and the language of painting is necessarily more simple and reductive,<br />then the painting will necessarily be an "abstraction," since it can't be<br />a simulation. But the goal is not abstraction for its own sake. The goal<br />is to get at the essence of a thing, and in order to do this using the<br />limited vocabulary of (in Klee's case) painting, it's going to be<br />abstracted.<br /><br />Interesting that Klee's systematic approach to representation influenced<br />Armin Hofmann who influenced Casey Reas whose Processing software is<br />currently influencing the aesthetic of the generative art scene. All via<br />a Bauhaus modernist graphic design door, which is a funny door for it to<br />come through, considering it winds up in the midst of the late modern,<br />often anti-formalist net art scene.<br /><br />Some quotations that seem relevant:<br /><br />There's this sort of ridiculous idea left over from the 20th century that<br />abstraction and figuration are legitimate poles. And I from the very<br />start have incorporated the two things together. I've been fascinated by<br />the idea that there is really no distinction – it's just a question of<br />scale. (matthew ritchie)<br />Forms react on us both through their essence and their appearance, those<br />kindred organs of the spirit. The line of demarcation between essence and<br />appearance is faint. There is no clash, just a specific something which<br />demands that the essentials be grasped. (paul klee)<br />It is not easy to orient yourself in a whole that is made up of parts<br />belonging to different dimensions. And nature is such a whole…<br /><br />The answer lies in methods of handling spatial representation which lead<br />to an image that is plastically clear. The difficulty lies in the temporal<br />deficiencies of language. For language there is no way of seeing many<br />dimensions at once. (paul klee)<br />There should be no separation between spontaneous work with an emotional<br />tone and work directed by the intellect. Both are supplementary to each<br />other and must be regarded as intimately connected. Discipline and freedom<br />are thus to be seen as elements of equal weight, each partaking of the<br />other. (armin hofmann)<br />In the face of the mystery, analysis stops perplexed. But the mystery is<br />to share in the creation of form by pressing forward to the seal of<br />mystery. (paul klee)<br />The chosen artists are those who dig down close to the secret source where<br />the primal law feeds the forces of development. (paul klee)<br />To overcome an obstacle or an enemy<br />To dominate the impossible in your life<br />Reach in the darkness<br />(paul simon)<br />Art plays in the dark with ultimate things and yet it reaches them. (paul<br />klee)<br />+Pall Thayer replied:+<br /><br />I've been doing some research on related stuff recently and it's beginning<br />to lead into a kind of strange direction. What I'm going to say is not<br />about digital art in general but about Net-Art in general. For a long time<br />I've been touting the merits of the abstract and do in fact feel that it's<br />one of *the* most important moves in recent art. So important that to<br />simply abandon it as old fashioned would be a shame. It's definitely<br />important stuff. But as far as Net-Art is concerned, it's hard to ignore<br />the Pop-Artness of it. It uses elements of mass culture and due it's (most<br />often) screen-based nature, it tends to have a graphic-design quality to<br />it. On top of that, it has one more very significant feature that Pop-Art<br />didn't have. Almost anyone can experience it in an environment of their<br />own choosing.<br /><br />Here's a good description of net art, it's: "popular, transient,<br />expendable, low-cost, mass-produced, young, witty, sexy, gimmicky,<br />glamorous, and Big Business"<br /><br />Only, this list wasn't devised as a description of net art. It's Richard<br />Hamilton describing Pop-Art in the late 50's. Eery, eh? So, wow! If we<br />consider the primary proponents of these two "schools", we're looking to<br />try to find a balance between Clement Greenberg and Arthur Danto. That's<br />pretty intense. I came across a true gem of a find just yesterday. In the<br />October, 2004 issue of ArtForum, they published a previously unpublished<br />lecture given by Greenberg on… Pop-Art. Very interesting read but not<br />surprising that he didn't care for it all. Here's a great quote from the<br />lecture: "But Pop art has not yet produced anything that has given me, for<br />one, pause; moved me deeply; that has challenged my taste or capacities<br />and forced me to expand them."<br /><br />Danto on the other hand says that art's flight from Abstract Expressionism<br />(Greenberg's forte) is a turning point where art becomes philosophy which<br />sounds to me like something very challenging and deeply moving.<br /><br />Of course, one of the interesting things to consider, is the audience. Who<br />were Abstract Expressionism's audience? Who were Pop-Art's audience? Who<br />are Net-Art's audience?<br /><br />I'm not going to supply any answers. This is just stuff to think about.<br />But I do feel that Net-Art has the potential to create a meaningful bridge<br />between Greenberg and Danto and that it's truly worth pursuing.<br />+Geert Dekkers replied:+<br /><br />Experiencing art within the domain of your choosing is important – but<br />this has always been possible. A buyer/collector of an art object may<br />choose to experience the object anywhere he/she wishes. But a viewer –<br />now, a viewer is restricted to the medium where a 3d piece can be<br />experienced without buying it – you know, an art gallery, a museum,<br />someone's home. The enviroment wherein net.art can be experienced is<br />definitely not of ones own choosing. net.art can only be experienced<br />within the confines of – well, the internet. It will always take a<br />machine to experience net.art. You will never be able to walk around it,<br />look at it from the back. It simply does no exist in our dimension. Now<br />THAT makes net.art (and before that, video art, ie everything that needs a<br />machine) very different from anything produces before. Except perhaps<br />fluxus, happenings.<br />+Pall Thayer replied:+<br /><br />Hi Geert,<br />Good point. I hadn't really considered that. When considering Net-Art as a<br />mass-media type phenomenon, I guess what concerns me as far as the<br />location of the experience goes, is the fact that people not generally<br />interested enough in art to go out and seek it in a gallery or museum or<br />even those who feel intimidated by formal art settings (the "I don't know<br />how to talk about art. I'll just feel out of place." types) can experience<br />the art in solitude without it being a compromise such as looking at<br />pictures of paintings or sculptures in a magazine. They get the real<br />thing. And the way things are now, that doesn't necessarily have to be at<br />home, it can be at a coffee-shop, the library, school, even a park.<br /><br />But as far as walking around and examining work in three dimensions, I'm<br />not sure that I would call that unique to screen-based art as painting<br />exhibitions usually don't invite you to examine the paintings from behind.<br /><br />Pall<br />+Geert Dekkers replied:+<br /><br />Right. But what I mean is that in the case of screen-based work, like<br />digital work, like video work, the space of the work is removed from the<br />physical space where the box (computer, video set, projection system) is<br />presented. Which means that there is a conflict between the art work<br />universe (what goes on inside the box) and the design universe (the<br />outside of the box). More often than not, this conflict stays unresolved.<br />Of course, in painting (or any other form where the image carrier is<br />fixed to the image) this conflict is present. But the conflict doesn't<br />present itself as strongly as in screen- based art, because of the simple<br />possibility of switching of the set (you then end up with just another tv)<br /><br />Much of the appreciation of art comes with setting the context. As in<br />other art forms – for example: going to the pictures (to a movie theatre)<br />sets te context for the experience of a movie. Watching the same on the<br />telly is just not the same – as everyone knows. To pin down a traditional<br />form of art appreciation – lets say that would be in a gallery, museum,<br />or someones home, you'd really also have to speak of the context of the<br />art object, to some extent, the context would be personal, other context<br />would be collective, and yes, I can imagine context that would be very<br />unique to the person doing the appreciating, so much so, that it would not<br />be able to be articulated.<br /><br />So – getting "the real thing" might just be somewhat different than you<br />think it is, Pall. Art needs its institutions – but art needs to break<br />its bonds now and again, too.<br />+Eric Dymond replied:+<br />I think, or whatever passes for thinking, we have o establish a few<br />parameters before we discuss the issue of online abstract art.<br />Before I make a comment, we need to discuss the frame of a web art work.<br />This frame carries with it an accepted degree of drift.<br />An abstract painting in a gallery, museum, hallway of an insurance company<br />doesn't share the same unique frame that online web art has.<br />Our first goal, before going off on funny tangents is to agree upon "the<br />frame" and the context that "the frame" brings to the work.<br />Web art is framed in ways that museum art could only dream of (or reel in<br />apoplexia during early morning nightmares).<br />What is this distance between the old static world and the newer mediated<br />world?<br />Can we even begin to make comparisons?<br />Rhizome posts so many new works each day, which is why I love it, but<br />could an old guard critic like Clem Greenberg get any sense of the new<br />ideas and feelings these works explore? I doubt it.<br />+Ryan Griffis replied:+<br /><br />hi Eric,<br />i appreciate what you have to say (the comments about framing - right on),<br />but do you really mean this? what's the point in having an "art" that can<br />be distributed over a network like the internet/web, supposedly to reach<br />more people than painting, and believe that someone like Greenberg<br />couldn't "get it"? don't get me wrong, i'm not saying he would "like" any<br />of it, but his dislike of it would be because he "got it," not due to his<br />ignorance - he would actively resist participation. Take Fried's critique<br />of theatricality in minimalism, for example. He got it, and didn't like<br />it. Or for a more current example, read Claire<br />Bishop's crit of relational aesthetics, which is so a contemporary "Art &<br />Objecthood." She also "gets" relational aesthetics and that is where her<br />crit comes from… despite her (very) valid points about the denial of<br />conflict in Bourriaud's relational aesthetics (and its simulation of<br />egalitarianism/anarchism), her crit comes down to a defense of "Art" and<br />its boundaries (gender, class, etc) - hence the importance of Gillick and<br />Hirschorn to her narrative. i mean, someone wants to challenge the<br />"collaborative" practices of Tiravanija and that's who they come up with??<br />anyway, just some quick thoughts… that are maybe way off the topic of<br />abstraction, at least as it's being discussed here.<br />+Eric Dymond replied:+<br /><br />Hi Ryan,<br />These are great points, but I am trying to zero in on web art vs<br />traditional art framing.<br />I understand traditional contexts, they have such a great history, and a<br />great expectation.<br />The current disourse doesn't address the fact that my computer is expected<br />to reveal art in the context of a web browser (with back buttons, history,<br />lnks etc..) or software that always has an escape key.<br />This is a pretty significant difference between older static works and the<br /> new works that address the issue of the computed frame.<br />When I look at a Barnett Newman, in person or online, I am framed by the<br />substances that created the work. He meant for things to be seen in<br />person, in situu. He also was very particular about insisting that the<br />existence that created the work be remembered.<br />Thats not true of online work. Often I spend very little time worrying<br />about the programming/imaging/author that created the work.<br />The significance that the 'making' brings is so important in older art.<br />Don't we now tend to ignore the drag of a brush(which Newman felt was all<br />important) and deal with the social/technological/mediated event as it<br />presents itself to us? Its event driven, not individually expressed.<br />In other words when we take up the digital, we bring with it some baggage<br />that never entered into the discourse of the older abstract and conceptual<br />artists? The new baggage could be CNN, Yahoo, Google, Rhizome, The Thing,<br />NetTime, and on and on.<br />I think most older abstraction was insulated from these issues<br />Could the old world of abstraction even be possible in the electronic<br />digest?<br />+Alexis Turner replied:+<br /><br />Why does one have to reveal it in a web browser? It is not "web art," it<br />is net.art, and the Internet and the Web are very different entities, even<br />if people like to play very fast and loose with the two terms. And this<br />observation doesn't even touch on the fact that "browsers" are not a<br />natural law of viewing items on the web. Computer science, and,<br />following, the web, the internet, browsers, and net.art, are inherently<br />subject to change by their very nature. They are evolving disciplines,<br />and defining a frame for their use is an excercise in futility. No<br />tangent. Just the nature of code. Off the top of my head, I can imagine<br />several scenarios where a person could create a net.art object which could<br />be walked around and seen from all sides. The INTERNET and its underlying<br />CODE are the only required framework, and those can take many physical and<br />ethereal forms.<br />+Nad replied:+<br /><br />@Andre:<br /><br />What exactly do you mean with trancendental?<br />There are quite a few definitions of that<br />term on the market.<br /><br />@Curt<br /><br />>I've been fascinated by the idea that there is really no distinction –<br />>it's just a question of scale. (matthew ritchie)<br /><br />??????? this makes no sense to me. What do you think<br />how he meant that?<br />How do you apply that for example if you do<br />the abstraction from "chair" (meaning the actual thing*)<br />to "chair" (meaning the abstraction as a "thing which<br />can be used for sitting")??<br /><br />(*like chair as in a chinese restaurant for eating hot and<br />sour soup :-))<br /><br />@Geert<br /><br />>You will never be<br />>able to walk around it, look at it from the back. It simply does no<br />>exist in our dimension.<br /><br />This is definitely true for our nowadays internet.<br />However I think this will probably change if you look at the<br />already now available 3D technology.<br />I posted this link already on rhizome, but may be you missed it,<br />its an example of what#s on the way:<br /><a rel="nofollow" href="http://www.aist.go.jp/aist_e/latest_research/2006/20060210/20060210.html">http://www.aist.go.jp/aist_e/latest_research/2006/20060210/20060210.html</a><br /><br />and well finally -"one" can already now walk around an object as an avatar<br />in virtual 3D space (e.g. on the internet).<br />+Dirk Vekemans replied:+<br /><br />> I posted this link already on rhizome, but may be you missed<br />> it, its an example of what#s on the way:<br />> <a rel="nofollow" href="http://www.aist.go.jp/aist_e/latest_research/2006/20060210/200">http://www.aist.go.jp/aist_e/latest_research/2006/20060210/200</a><br />> 60210.html<br />><br />> and well finally -"one" can already now walk around an object<br />> as an avatar in virtual 3D space (e.g. on the internet).<br />><br />The fact that it uses afterlight (our mental, cognitive process of making<br />sense of stimuli _after_ they have happened) as a means of visualisation<br />is imho a vital part in figuring out *what* we'll actually be walking<br />around. It seems it's in the interfering part ( a continuous actualisation<br />of waves collapsing to fact, after the fact) that this technology truly<br />gets revolutionary.<br />+curt cloninger replied:+<br /><br />Hi Nad,<br /><br />I don't think he's speaking philosophically. He's speaking in terms of<br />abstract forms vs. figurative forms. If you zoom in on a human form,<br />eventually you get to a scale that makes that form abstract. If you zoom<br />out from a human form, the same thing happens. Think of the Eames powers<br />of 10 movie.<br /><br /><a rel="nofollow" href="http://www.powersof10.com/">http://www.powersof10.com/</a><br /><br /><a rel="nofollow" href="http://micro.magnet.fsu.edu/primer/java/scienceopticsu/powersof10/">http://micro.magnet.fsu.edu/primer/java/scienceopticsu/powersof10/</a><br />+Dirk Vekemans replied:+<br /><br /> aka measurement is interference (procedure of quantum mechanics)<br /> aka abstract is a bad question (posing as an answer, so people question it)<br /> aka distinction is no really is (all i see is pixels on a screen)<br /><br />+<br /><br /> chair is a word. How does one ever get to sit on a word? I think of fr<br />flesh while i ait that (untsoweiter)<br /><br />Hence: correlating (atom-eating) through cycles of<br />differentiating>interrupting>differenciating picking up cycles of…<br /><br />Net-art (or nAârt or whatever) as the flux defined by the rhytmical<br />construct grid>absence>grid<br />+Dirk Vekemans replied:+<br /><br />In other words, if u want:<br /><br />"The mind, whether expressed in history or in the individual life, has a<br />precise movement, which can be quickened or slackened but cannot be<br />fundamentally altered, and this movement can be expressed by a<br />mathematical form."<br /><br />WB Yeats (cfr <a rel="nofollow" href="http://socialfiction.org/gettags.php?tagski=Yeats&submit=send">http://socialfiction.org/gettags.php?tagski=Yeats&submit=send</a>)<br /><br />In dealing with abstraction (searching within, building on…)you're<br />always dealing with the human:<br /><br /> when it's "bad" digital abstraction is a further _mechanising_ of the<br />human, the kind of observing acts that, as an interference, is<br />inescapably a humanisation of the virtual, the abstract observing the<br />abstracting if you want. The result is contraction, general collaps,<br />reduction of the reduced, tagging the tagged. A general arrest of<br />consciousness. (sh)It matters, naturally.<br /><br /> when it's "good" digital abstraction could be offering sideway glances of<br />the a-human. Imho that can only be achieved by a _machinisation_ of the<br />poetic (we're too silly to get there ourselves -our consciousness doesn't<br />allow too much exposure etc). The result would be an opening, an<br />explosion of the captivated, a freeing of energies, a general leakage of<br />the Real. (sh)It happens, accidently.<br /><br />The good and the bad are performing a continuous dance, exchanging<br />vip-cards on the net so to speak, but it seems, eventually, there's a<br />rather annoying lack of good around.<br /><br />But then, ofcourse, there will always be the ugly.<br />+Eric Dymond replied:+<br /><br />reitirating with extra bytes:<br />I think, or whatever passes for thinking, we have to establish a few<br />parameters before we discuss the issue of online abstract art.<br />Before I make a comment, we need to discuss the frame of a web art work.<br />This frame carries with it an accepted degree of drift.<br />An abstract painting in a gallery, museum, hallway of an insurance company<br />doesn't share the same unique frame that online web art has.<br />Our first goal, before going off on funny tangents is to agree upon "the<br />frame" and the context that "the frame" brings to the work.<br />Web art is framed in ways that museum art could only dream of (or reel in<br />apoplexia during early morning nightmares).<br />What is this distance between the old static world and the newer mediated<br />world?<br />Can we even begin to make comparisons?<br />Rhizome posts so many new works each day, which is why I love it, but<br />could an old guard critic like Clem Greenberg get any sense of the new<br />ideas and feelings these works explore? I doubt it.<br />+Geert Dekkers replied:+<br /><br />Eric,<br /><br />Would you say that the term "framing" that you use is the same as<br />"contextualising" ??<br />+Eric Dymond replied:+<br /><br />it's close enough, framing adds the attribute of presentation in a<br />specific way.<br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org is a 501©(3) nonprofit organization and an affiliate of the<br />New Museum of Contemporary Art.<br /><br />Rhizome Digest is supported by grants from The Charles Engelhard<br />Foundation, The Rockefeller Foundation, The Andy Warhol Foundation for the<br />Visual Arts, and with public funds from the New York State Council on the<br />Arts, a state agency.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome Digest is filtered by Marisa Olson (marisa@rhizome.org). ISSN:<br />1525-9110. Volume 11, number 15. Article submissions to list@rhizome.org<br />are encouraged. Submissions should relate to the theme of new media art<br />and be less than 1500 words. For information on advertising in Rhizome<br />Digest, please contact info@rhizome.org.<br /><br />To unsubscribe from this list, visit <a rel="nofollow" href="http://rhizome.org/subscribe">http://rhizome.org/subscribe</a>.<br />Subscribers to Rhizome Digest are subject to the terms set out in the<br />Member Agreement available online at <a rel="nofollow" href="http://rhizome.org/info/29.php">http://rhizome.org/info/29.php</a>.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br />
