It is said that a new Gallery or Museum opens in China every 3 days; Ai Weiwei installs another monumental sculpture across the globe; and 70 million visitors trudge through the World Expo in Shanghai. Three or so centuries after Chinoiserie entered the Western Art Vocabulary, and despite some recent market deflation, China is definitely still IT.
Like Chinese contemporary art, media art is flourishing beyond the Great Firewall, and increasingly appearing in the international Media Festival scene. There has been a rush in Western Europe and Australia to embrace Chinese cultural exchanges. How do exhibitions, symposia or publications decode across cultural, sexual and political bounds to Chinese and Non-Chinese audiences? What are the emergences, frictions and dialogues between artists and curators within contemporary Chinese distributed and digital practices?
"Video games are the
first stage in a plan for machines to help the human race, the only plan
that offers a future for intelligence."- Chris Marker, 'Sunless'
|In the wake of the post-war
situationists, the seventies Moebius-strip concept of “site/non-site”
initiated a dynamic of ironic play as if subjectivity and the art object
interpolated freely, to project a new participatory space. On offer was
a new kind of public transgression, produced at ground level. Post 9/11,
new media is ‘after the net’. What follows in the traces of
the site/non-site? Globalization inflects locality through branding, privatization
and glamour from the top down. The ubiquity of digital tools as integrated
circuitry within hypercapitalism and war opens onto an ethical problem for
media arts -- how to extend free modes of encounter: here sites become stations.
Our guest this month:
---> Naeem Mohaiemen (BD/US) works in Dhaka/New York , using video, archive and text. Areas of investigation include national security panic, failed revolutionary movements, and the slippage between utopia and dystopia.Projects include a multiyear investigation of hysterical conditions (Visible Collective, disappearedinamerica.org), My Camera Can Lie? (UK House of Lords), and Sartre Kommt Nacht Stammheim (Pavillion).
---> Katherine Carl (US) is writing her PhD on conceptual art of the sixties and seventies in the former Yugoslavia. Iin 2005-2006, she was Curator of Contemporary Exhibitions at The Drawing Center after her work as Assistant Curator there. This follows her work at Dia Art Foundation (1999-2003), ArtsLink (1996-1997) and the National Endowment for the Arts (1991-1995). Carl is a founding member of School of Missing Studies.
---> Srdjan Jovanovic Weiss (SP/US)is an architect and founder of NAO (Normal Architecture Office) as well as founding member of the School of Missing Studies. His book /Almost Architectur eis about architecture vis-à-vis emerging democratic processes. He is currently in design process for Stadium Culture in collaboration with kuda.org: New Media Centre in Novi Sad to preserve public spaces left from socialist planning.
---> Nat Muller (NL) Is an independent curator and critic based in Rotterdam. She has held positions as staff curator at V2_, Institute for Unstable Media (Rotterdam) and De Balie, Centre for Culture and Politics (Amsterdam). Her main interests include: the intersections of aesthetics, media and politics; (new)media and art in the Middle East. She recently co-edited the Mag.net Reader2: Between Paper and Pixel with Alessandro Ludovico (2007), and Mag.net Reader3: Processual Publlishing. Actual gestures. (forthcoming 2008). She is co-initiator of the Upgrade! Amsterdam. In 2008 she will spend a year at the Townhouse Gallery in Cairo as curator-in-residence.
---> John Haber (US) is a prolific American art critic who lives in New York. He uses the perspective of critical theory in an accessible, journalistic prose to write online reviews and essays about topics ranging from traditional Art History, Modernism and Postmodernism. When his New York Art Crit site started in 1994 with art reviews from around New York, it was the most thorough and extensive set of gallery and museumreviews anywhere online. This art hyperbook currently features about 700 artists, critics, and art historians from the early Renaissance to Postmodernism, with more than 5,000 links between reviews.
|Confident reliance on the expanse
of virtual memory, data bases, and archives can be easily compromised by
the uncertainties of art, the surprise of accident, and the shifts of archival
assumptions, if not also by those irritating computer messages announcing
"memory error." The interruption of digital memory error accentuates
what Thomas Hobbes lamented in a much earlier age of technological revolution
as the fragility or "decaying sense" of memory. This month -empyre-
will reflect on how the tenuous memory reserves of digital culture reinvest
the complex affect of the personal in the fragile fabrics of the social.
They will ponder the inscription of the cultural importance of memory and
archive in the inherent masochism of their fragility when art enters into
contact with archive and accident.
With special guests:
---> Ingrid Bachman (Canada) is an interdisciplinary artist who explores the complicated relationship between the material and virtual realms. Bachmann uses redundant, as well as new technologies, to create generative and interactive artworks, many of which are site-specific. She is the co-editor (with Ruth Scheuing) of Material Matters, a critical anthology on the relation of material and culture and has a chapter in a new anthology, The Object of Labor (ed. Joan Livingstone and John Ploof), published by MIT Press, 2007. Ingrid is a founding member of the Interactive Textiles and Wearable Computing Lab of Hexagram and is the Head of The Institute of Everyday Life. She is currently Associate Dean, Research and International Relations in the Faculty of Fine Arts at Concordia University in Montreal, Quebec.
---> Madeleine Casad (US) is Assistant Curator of the Rose Goldsen Archiveof New Media Art and a doctoral candidate in Comparative Literatureat Cornell University. She is interested in political aspects of memory and counter memory in the context of digital culture and textuality, medium-specific temporalities (and aesthetics!) of information storage and retrieval, and questions related to subjectivity and "the archive." She teaches courses on gaming, narrative, and media and is completing a dissertation about virtuality, identity, and narrative desire in literature and media art, focusing mainly on German texts and institutions.
---> Out-of-Sync (Australia) is a collaboration between Norie Neumark and Maria Miranda who have working collectively for over 15 years, beginning in radio and then from the early '90s making work with CD-Roms, installations, websites and Internet installations. Currently they are working with performative encounters in public places - process based works which they document in various ways for installation. In addition to their international new media art practice, Norie is Associate Professor of Media Arts and Production at the University of Technology, Sydney, and Maria is a doctoral candidate at Macquarie University in Sydney where she is researching the performativity of mediaspace and the possibilities of a new form of sociality.
---> Monica Ross (England) is a British artist, based in Brighton, whose work is time based and includes performance, installation, video, CD-Rom, and text works such as valentine , a book work published by Milch, London, 2000. She was an Arts and Humanities Research Board Fellow in the Fine Art Department at the University of Newcastle from 2001-2004, where she established Connecting Principle. Her collaborative works on the net include The International Corporation of Lost Structures (ICOLS) and Matter of Fact, an e-book with An Tallentire. Her ongoing project, justfornow.net., explores the continuum between durational artworks in real time and a data based archive on line.
---> Grace Quintanilla (Mexico) is Artistic Director of Transitio_Mx Electronic Arts and Video Festival in Mexico City. An artist, animator, and videomaker, she studied animation at the Edinburgh Film Workshop Trust and did graduate studies in Electronic Art and Television at The School of Television and Imaging at Dundee University in Scotland. Upon returning to Mexico in the mid-1990s she made the award-wining documentary series Aventurera, and began her ongoing experimentation with digital technologies that he resulted in numerous award-winning projects.
Two words well placed, no?
After Judith Roof's "The
Poetics of DNA". That DNA (hereafter Code) is perhaps, but a
metaphor for a substance (and/or protocol?) is what concerns us here.
Critical Spatial Practice
entails the claiming of social responsibility at the intersections of
art, geography, architecture, and activism. How might critical approaches
to space and place empower creativity, enhance artistic activism, and
encourage artistic practice and collaboration? The alignment of criticality
with cyber configurations of space permits especially creative skins of
networks, resources, and discussions whose resulting configurations range
from texts and performances to buildings and installations. With special
Neal Stephenson's Metaverse
reigns supreme. One of it's current incarnations- the multi-user virtual
universe Second Life
claims a population of 8.5 million avatars. SL is embraced by many as
an innovative and safe fantasy scape - enabling play, creativity, education,
companionship, love and lust. It is reviled by some as a cesspit of antisocial
isolationist addictive behavior; and SL is dismissed by others as simply
an over-inflated hype driven commercial venture expounding the values
of property acquisition and commodity exchange. Whatever your perspective,
SL is serious business with an exchange rate which fluctuates against
the $US and an estimated Second Life avatar
electricity consumption equivalent to the average citizen of Brazil.
In this seemingly infinitely expandable universe aesthetic endeavours,
creative constructions and artistic performances are enacted daily.
This month, we open up the
context of the much-awaited Documenta 12 and attendant Magazine Project
to our network.
This month -empyre- will
concentrate on the construction of identity among artists who have explored
notions of 'feminine' identity at one point or another -especially how
it relates to space and landscape. The emphasis of thediscussion will
focus on the play between 'real' and 'virtual' space,as it is so much
a part of the everyday and a powerful tool forartists to promote and create
their works. The discussion will alsofocus on how curators have worked
with artists with these concerns.
From surveillance and mobil
technologies to fears and public panic, the ambivalent attraction of technologies
of terror shifts between
(FR): to convey 'in a particular manner of speaking or presentation,'
quite similar to English 'enuciation,' perhaps with more subtle depth.
With the passing of Baudrillard, it seems timely and important to reflect
on how philosophy matters, how it is énoncé, in our lives.
12 Magazine Project. The edited text of the conversation is availabe
The historical metaphor of the Crusades is still alive
concerning and in presentday Middle East, both as a memory and in relation
to contemporary conquests, as well as in the rhetoric of empire.Today
artists, writers and theorists merge in the world, document it and, instead
of trying to conquer it, show passion and compassion, denounce, take part,
engage themselves. Films, photos, texts and installations talk about jails,
fences, workers with precarious jobs paperless immigrants, political turmoil
and mayhem. Fine Arts is today the arena of political discussions and
November 2006 -The Work of Art in the Age of a Noiseless World
Michelle Kasprzak, Hamed Taheri, Miguel Leal,
Maria Moreira , and Johannes Birringer
If we assume that
technologies carry with them a certain utopia,we ask if there is - and
if so, what is - the utopia embedded on digital informational technology?
The cybernetic paradigm aims a world of perfect informational flux - that
is, a world without noise. A
October 2006 -Research as practice dialogue -
De Geuzen and Ryan Griffis
A dialogue between Ryan
Griffis and De Geuzen, provided an opportunity to explore themes underlying
their participation in the Chicago chapter of Jordan Crandall's UNDER
FIRE project. UNDER FIRE is an ongoing art and research project that
explores militarization and political violence. It delves into the structural,
symbolic, and affective dimensions of armed conflicts: the organization,
representation, and materialization of war.Some of the areas of discussion
included: research as practice, approach to creative production, DIY tools,
amateur vs. professional forms of activist practice, notions of commitment
and issues of engagement.
September 2006 -Mobile Media
Paula Roush Joanna Callaghan, Luis Silva, Heather Corcoran,
Marina Vishmidt and Lucas Bambozzi
Mobile media is not
only about accessing something that is /not here/, but also about moving
along with the flow. shifting even further towards nomadic procedures
that blur the boundaries between frontiers and stable knowledge and allow
tracking and surveillance, exposing user spaces and identities.
August 2006 -Peripatetic Pacific
12 Magazine Project. The edited text of the conversation is availabe
|Liquid narrative suggests
unfoldings of contemporary languages beyond tech achievements, by relating
user controlled applications with formats such as the essay and procedures
related to the figure of the narrator (as described by Benjamin in his writings
about Nikolai Leskov). One of the main concerns in Benjamin's essay is a
description of how the rise of modernism happens on account of an increasing
privilege of information over knowledge. Benjamin distinguishes between
an oral oriented knowledge, that results from 'an experience that goes from
person to person' and is sometimes anonymous, from the information and authoritative
oriented print culture. Contemporary networked culture rescues this 'person
to person' dimension, given the distributed and non-authoritative procedures
that technologies such as the GPS, mobile phones and others stimulate. We
experience a return to the type of knowledge described by Benjamin, but
in the context of complementary strategies of distribution and sharing that
goes beyond the proposed concepts of 'essay' and 'narrative'. How does the
concept of narrative is related to comtemporary culture? Can we really describe
nowadays fragmentary and user related procedures of organizing data as narratives?
Should they be considered liquid, since they are fluid, reshapable, pliable?
How does devices such as the GPS and mobile phones change narrative? How
technologies broadband internet and DVD allow other modes of organizing
---> Dene Grigar's (US) current book project, Rhetoric of the Senses, is an interdisciplinary work combining new media, rhetoric, and literature that studies all sensoria involved in producing "text."
---> James 'Jim' Barrett (SE/AU) is a poet, sound artist and installation performer on Aboriginal narratives, trance experience, visual culture, sacred music and psychogeography and investigates Bakhtinian concepts of chronotope + dialogics in the study of digital texts.
---> Musician Sergio Roclaw Basbaum (Brazil) published "Syneathesia, art and technology - the foundings of Chromossonia"ï, in 2002. Sergio brings Maurice Meleau-Ponty's Phenomenology of Perception into a dialogue with contemporary technological culture.
From the Greek roots syn
("union") and aesthesis ("sensation"), Synaesthesia
is, literally, the convergence of senses. Though some have regarded the
online experience as breathing new life into the mind/body problem, many
artists are already working in a space that engages attention and sense
in a convergence across a broader perceptual spectrum. Three artists will
anchor the discussion of
|In collaboration with
12 Magazine Project. The edited text of the conversation is availabe
"It is fairly obvious that modernity, or modernitys fate, exerts a profound influence on contemporary artists. Part of that attraction may stem from the fact that no one really knows if modernity is dead or alive. It seems to be in ruins after the totalitarian catastrophes of the 20th century (the very same catastrophes to which it somehow gave rise). It seems utterly compromised by the brutally partial application of its universal demands (liberté, égalité, fraternité) or by the simple fact that modernity and coloniality went, and probably still go, hand in hand. Still, peoples imaginations are full of modernitys visions and forms ... In short, it seems that we are both outside and inside modernity, both repelled by its deadly violence and seduced by its most immodest aspiration or potential: that there might, after all, be a common planetary horizon for all the living and the dead." -Roger Beurgel, Documenta 12.
---> Christophe Bruno (FR) lives and works in Paris. Awarded with an Honorary Mention at the Prix Ars Electronica 2003, hes been exhibited internationally including Transmediale, Nuit Blanche, File Festival, Modern Art Museum of the city of Paris, Tirana Biennale.
---> Erik Kluitenberg (NL) is a theorist, writer, and organiser on culture, media and technology. He is head of the media program at De Balie - Centre for Culture and Politics in Amsterdam. His most recent publication is A Book of Imaginary Media
---> Christiane Paul (US) is the Adjunct Curator of New Media Arts at the Whitney Museum of American Art and the director of
Intelligent Agent, Her book Digital Art (part of the World of Art Series by Thames & Hudson, UK) was published in July 2003.
--> Dirk Vekemans (BE) is a digital poet and multimedia artist who invented and co-organised Leuven Per Vers in 1996, and has published literary works and multimedia experiments in Dutch through Nederlandse Literatuur @ ViltNet. In 2004 Dirk initiated NkdeE.
---> Christina McPhee (US) develops an intimate connection between geologic and environmental distress and the poetics of trauma. recent exhibitions include Sara Tecchia New York, Cartes Centre for Art and Technology, Finland and Bildmuseet, Umea, Sweden.
In December 2005,
the Anti-Terrorism Bill was pushed through the Australian Parliament.
At Simon Fraser University
in Vancouver, Computational Poetics "aims to articulate a poetics
of digital art performance while
|This month's topic will
be art and cognition based on some premises proposed by artist and researcher
Louis Bec. Since the evolution of cognitive sciences is progressively more
marked by the use of technological simulation, the similarities between
art and cognition
are reinforced. According to Bec, the cognitive sciences cease to be merely explicative and become a creative well-spring, a take off point of imagination. The art/cognition interface is the source of an entire range of new questions concerning the role of the living world, its nature, its status and its future. These questions bear not only onmatters of redefinition, representation, behavioural modes and perceptive, mental and imaginative functioning; not only on the potential for learning, communication, expression, innovation and creation; but also, and decisively, on modes of social and spatial organization, on the management of the biosphere and of urban
energies and environments, on the creation of models of economic systems, on the handling of the industries of knowledge, information and images.
---> Raquel Rennó develops projects that relate Technonology, Media and Urban Spaces. Raquel is a researcher at the Medialab Madrid.
---> Luigi Pagliarini (Italy) is an artist, psychologist, multimedia and software designer, expert in robotics, AI and artificial life. He is currently Professor of Machine Psychology at the Academy of Fine Arts of Rome, Italy.
---> David Cuartielles (Spain) is a engineer and PhD student in Interaction Design at the School of Arts and Communication, Malmö
University, Sweden where he also lecturers and founded of the laboratory in mechatronics.
---> Andy Gracie (UK) makes multi-disciplinary artwork exploring relationships between technological and naturalsystems, expressing a special interest in the point where the two are mediated through each other and what bridges can be revealed or constructed.
---> Raquel Paricio Garcia (Spain) is currently a PhD candidate at the Technical University of Catalunya (UPC). Her research interests include body consciousness and expression and multi-sensory environments and interfaces.
Whispering in the dark,
conspiratorial incantations. Theory making sense of the place youre
stumbling around in. As an art project, the Journal
of Aesthetics and Protest appears at a time when globalization replaced
localizable public goods with streamlined and
Writing, one of the
oldest known technologies, is altered by the way computerized operations
change syntax--how words and paragraphs are organized--and deliver semiotically
via internet and mobile technologies, stimulating new forms of writing
and publishing. Is 'writing' still adequate to describe the most eloquent
examples of creative processes involving words and digital media? Moderated
by Marcus Bastos (BR) <http://www.pucsp.br/~marcusbastos/index.htm>
Five artists and collaborative
groups were commissioned to make web- based projects for the latest edition
of inSite, the binational
This month on -empyre-,
we venture into the world of wearable technologies in the context of social
and public art practice.
This month's discussion
joins with the Network
Performance blog (Guest Helen Thoringtion writes:) "to take the
take the pulse of current network-enabled performance practice, as artists
investigate the possibilities opened by the migration of computing out
of the desktop PC and into the physical world, and by the continuing advances
in internet technologies, wireless telecommunications, sensor technologies
and Geographic Information Systems (GIS). The ephemeral conceptual art
practices that came into existence during the 50s and 60s with Happenings,
Fluxus, the Situationists -- and that re-emerged as participatory works
on the Internet in the early 90s, are now, with mobile networking technologies,
networked sensors and embedded computing, proliferating as new ways of
working and experiencing."
heritage of the Internet itself is essentially as a text-transmission
device, it is unsurprising that textuality can still be explored, re-positioned
and re-presented in compelling way. One of the most recent memes to infect
mainstream culture, the blog, is suddenly an essential business tool,
an important force in the ongoing development of journalism, and a new
conversational network. Mixing the genres of the documentary, the journal,
the personal conversation, the usenet discussion board, this month's artists
bring the weblog into the realm of artistic practice in the network:
Chang Heavy Industries produce arresting, tightly synchronized work from
Their work can behighly personal, confrontational, languorous or breathless, but always challenges the reader physically and intellectually. soem simplesenarios includea Homeric hero searching for sublime meaning in the insignificance of a life lived anywhere but where it seemingly counts; Asian businessmen and bar hostesses drinking the night away; a man who dies and is reborn a stick; a Korean cleaning lady who is really a French philosopher; an illegal immigrant in a holding cell under the Justice Palace in Paris; a woman who sexually embraces corporate monopoly; an evening with Sam Beckett in a bordello; an S O S from a beauty queen; a night roundup followed by an execution; a frustrated bongo player; a guy who goes to work without his pants on; the second Korea war; NorthKorean policy on oral sex; eating glass; movie end credits; the Riviera; Saul; and more.
Of themselves, they say simply:
---> YOUNG-HAE CHANG HEAVY INDUSTRIES is in Seoul. Its C.E.O. is Young-hae Chang, its C.I.O Marc Voge.
art and curatorial practice merge in post digital cultural production?
How are new media art, criticism and curatorial
Lattanzi and Nicolas Clauss are artists pioneering interactive video for
the Web. In their work, the experience of watching video is significantly
altered. Not simply that the video itself is altered, but that the experience
of watching it is altered. The viewer becomes also an interactor or annotator
or works with downloadable software to alter the video, etc. Barbara and
Nicolas will discuss their own work and also point out other interactive
video work of interest. Toward our being able to get a sense of the current
state of interactive video for the Web and, possibly, where it's going.
---> Barbara Lattanzi is a media artist whose current projects involve the construction of software for video improvisation as well as other works of interactive media. She currently teaches at Smith College in Massachusetts.
---> Nicolas Clauss is a Paris based painter who stopped "traditional" painting to use the Internet as a canvas. His site flyingpuppet.com is widely known for its interactive moving images.
How do we preserve our contemporary
networked art? For libraries and internet archival projects, the collection,
archiving, storage, migration and emulation of donline content is a routine
matter. How do these strategies transfer to networked art? This month
we discuss the tenuousness and a tenacity of networked histories and records,
the critical distinction between object and events based archiving and
what happens to an archive when funding disappears?
Aotearoa | New Zealand is
currently experiencing a renaissance in media arts and culture. Much is
bubbling to the surface from deep pools of creativity such as the Aotearoa
Digital Arts list; recent and planned festivals include Version,
SCANZ and re:mote; and exhibition venues include
Physics Room, the Moving
Image Centre and [NON] gallery. Our guests - net, sound and media
artists, theorists, educators, curators and writers, are working in, or
have recently returned to their home islands - bring fresh perspectives
from the south. Our guests include:
and other sense experiences relate to the convergence of vision, sound
and pre-aware cognition. Perception, in this context, need not be limited
to the apprehension of external stimuli, instead extending to the highly
subjective territories of the mind perceiving its own process. For the
next few weeks jackbackrack, Nancy Paterson and William Tremblaywill be
exchanging theier ideas regarding work and research which explores the
intersection of sensory motor modalities and the challenges and mysteries
of motor control, perception and representation.
writer and researcher
Mitchell Whitelaw's new book "Metacreation:
Art and Artificial Life" (MIT Press 2004) is the first detailed critical
account of the creative field practice of a-life art. Whitelaw and eminent
a-life practioners explore how artificial evolution alters the artist's
creative agency; the complex interactivity of artificial ecosystems;
the creation of embodied autonomous agencies; the use of cellular
automata to investigate pattern, form and morphogenesis; and well as examining
the key tenet of a-life, emergence.
|The members of the U.S.
Department of Art and Technology will do whatever it takes to keep America
safe. That means amplifying our intelligence, taking action on all key fronts,
and deconstructing and re-writing media texts. The USDAT is an artist-led,
virtual government agency. The US DAT functions as a conduit between the
arts and the broader political and economic culture for facilitating the
artistsÕ need to extend aesthetic inquiry into the social sphere where ideas
become real action. The Department proposes and supports the idealized definition
of the role of the artist in society as one whose reflections, ideas, aesthetics,
sensibilities, and abilities can have significant and transformative social
impact on the world stage.
---> Secretary Randall M. Packer is the Head of the US Department of Art and Technology and chief media arts advisory for the Federal Government.
---> Joining Secretary Packer throughout the month are many of the agents and staff artists for the USDAT. Some of those attending will be: Under Secretary for the Office of Artist & Homeland Insecurity, Jeff Gates; Director of the Bureau of Pharmakogeographical Surveying, Trace Reddell; Commanding General of Operation Artistic Freedom, Andrew Nagy.
Using locative media
to "read" a space with GPS and wireless technology enables artists
to dig into teh depths of the city. These narrative triggers draw many
lines through archaeology, fiction, architecture and design, into the
urban terrain. US artists Jeremy Hight, Jeff Knowlton and Naomi Spellman
use GPS data and interactive mapping to triggers live data through movement
in downtown LA in thier locative media artwork 34
north 118 west. Naomi and Jeff will also debut a new GPS based 'interpretive
engine' next month
year both ISEA and
Ars Electronica have
dedicated a stream of their conference and exhibition programs to the
theme of building, analysing and visualising Networks:
The violence of the
computer game world is thrown sharply into relief when characters do not
represent the cultural hegemony typically seen in a First-Person Shooter.
"Play" does not necessarily equal "amusement" or "humour"
in these games; the opportunity to put on an identity that sees a formerly
friendly (?) world as oppositional can be shocking.
In conjunction with the 2004
exhibition - a joint project of the Australian
Centre for the Moving Image and the National
Gallery of Victoria, -empyre - presents 26 artists, curators, theorists,
and information professionals discussing current issues in contemporary
art practice over four themed weeks:
(US) is an artists group with a radical take on 'art as software/software
as art'. criticalartware has created "liken" -- a platform for
development of techno-social theory and practice. Might the cybernetic 'play'
of "liken" a feedback revival of seventies visions of art as a
transforming social practice?
--->blithe riley creates and curates video for Transmissions and Ladyfest. She is a founding member of Pink Bloque, a feminist dance troop in Chicago.
--->bensyverson outputs [movies/videos], software and more, including the criticalartware statementmaker (2002), liken (2004) + the criticalartware operating system.
--->jonsatrom's art is in live video glitching, custom built hardware, colorful glitchware + artware.
--->jonCates teaches new media at the Art Institute of Chicago. He is a co-organizer of Version>04: invisibleNetworks, and curates Game-Video, a screening of videos influenced informed by video games.
Is Brecht's dream about
a democracy in broadcasting coming true? Does the webcast itself support
a unique aesthetic of data reduction, artifacts and recursive processing?
For the global media scene, how does net.radio affect media activism,
tactical media and open source research? Members from two oustanding webcast/net.Radio
groups will discuss their latest works and research into the slipstream
of the web.
| What does it mean to produce internationalist
online work? Is it possible to work with language, image, and sound in a
networked environment in such a way that the work rises above too narrow
a simplicity yet also is able to communicate with those who do not speak
our language? We will look at online work by South American artists that
retains a desire for a world wide web.
--->Alexandre Venera (BR) has created works that are both strong in relevant global statement and rich in media (sound, visuals, text, programming).
--->Regina Célia Pinto (BR) both creates online works of her own that examine the limits of communication and curates arteonline.arq.br which is devoted to an internationalist approach to online work.
--->Jorge Luiz Antonio (BR) is a scholar of digital literature and semiotics. He follows digital literature in several languages.
In cooperation with the conference
art, & collaboration, Geert Lovink and Trebor Scholz who are are
both part of a collaborative team that created the collaborative weblog
Discordia on arts, politics,
and techno cultures, discuss the complexity, challenges and rewards of
collaboration both off and on-line.
Is new media a field? Does it have
a history? What history? And, how does it matter? Three interdisciplinary
minds explore the genesis and history of new media as a scholarly discipline
and as an artistic practice. Our discussion centers on The
New Media Reader (MIT Press, 2003), edited by Nick Montfort and Noah
Wardrip-Fruin, and Jill Scott's Coded
Characters (Hatje Cantz Verlag, 2003).
Art, and Technology,(MIT Press 2003) edited by Judy
Malloy documents women's core contributions to art and technology
creation. The book includes overviews of the history and foundations of
the field; classic papers by women working in art and technology; papers
written expressly for this book by women whose work is currently shaping
and reshaping the field; and a series of critical essays that look to
the future. The book's website contains essays and is a constantly updated
resource linking to a global network of pioneering women artists and writers.
explore code, writing and the net as a central nervous system the
metaphors of skin, brain, erotic poetics and interconnectivity in electronic
literature and publishing. And, apart from aesthetic resemblances, how
do computer programs relate to literature?
In conjunction with Plaything
Symposium in Sydney two artists explore the possibilities of Anamorphosis
- to morph form or shape.
in Space (Australia) co-directors Hellen Sky
and John McCormick have sine 1993 pioneered
telematic performance in experiments in networked movement, in live and
online kinaesthetic, visual and aural worlds using motion capture imaging
and video.As artists-in-residence at RMIT's Interactive Information Institute,
Company in Space researches liveinteractive performance and the extension
of the body's relationship to space over the internet and within realtime
virtual theatre environments.
Reddell has been exploring the intersections of audio and multimedia
production, digital networks, media theory, literary criticism, and the
history of drug culture for almost fifteen years.
---> Mendi and Keith Obadike
are interdisciplinary artists working with music, live art, and conceptual
internet artworks. Their works conduct inquiry into the implications of
social and cultural networks as relates to blackness. Other areas of exploration
include sex toys, current events, and commodification of race and identity. In August of 2002, they
exhibited The Interaction of Coloreds, commissioned by the Whitney Museum
of American Art. At Yale University Mendi and Keith premiered their Internet
opera The Sour Thunder,
which was commissioned by the Yale Cabaret and will be released on CD
by the classical music label Bridge Records.
are the aesthetic, ethical and theoretical issues surrounding immersion
and representation in 3d space? What are the technical and financial parameters
shaping the future of independent artists creating online 3d experiential
work? Guests from lab3d
produced by Kathy Rae Huffman at Cornerhouse,
Manchester, explore these issues: lab3d installation artists include John
Klima (USA), Michael
Pinsky (UK), Melinda
Rackham (Australia), Anthony
Rowe of SquidSoup (UK), and Tamiko
Thiel (Germany/Japan). Artists from Web3dArt2003 include Simon
Biggs (UK), Steve
Guynup (USA), Patrick
Keller (Switzerland), Michael
Arnold Mages (USA), Adam
Nash (Australia), Ales
Vaupotic & Narvika Bovcon (Slovinia), Ayoub
Sarouphim (Lebanon/USA), Edward
Tang and Przemyslaw
Moskal (USA), and Grégoire
Andrews has published since 1995. It's the centre of his work as a writer,
programmer, critic, visual and audio guy. His work typically focuses on
language, drawing it into relation with other media, other arts, and programming.
He conceives reading and writing as activities synthetic through media,
arts, and programming. His interactive audio work NIO
opened on turbulence in 2001.
--->Hazel Smith works in the areas of poetry, experimental writing, performance, multi-mediawork and hypertext, online at <www.australysis.com> She has published two poetry volumes, the most recent of which is "Keys Round Her Tongue: short prose, poems and performance texts", Soma Publications, 2000. A theorist in literature, performance and hypermedia, Hazekl introduces and edits InfLect, a multimedia journal launched this month.
Rueb has used global positioningsatellite (GPS) technology in her work
since 1996 to explore issues of space, mapping, landscape, memory, the body
and cultural identity. Her current research explores sonic and acoustic
constructions of space, spatialized narrative, human movement and and psycho-social
---> Brett Stalbaum is a C5 research theorist specializing in theory,database,and software development. The C5 Landscape projects, initiated in 2001, involve mapping, navigation and search of the landscape using internally produced Geographic Information Systems. He has recently been involved in code development and research/theory work on database, the artist's role in the problems of large data, and landscape art.
|Often in collaboration with artists, new
media curators are moving into areas of online unstable work whose "ground"
is, for instance, the digital crawler, hypertext link, speech recognition
or artificial vision system. How does this unstable ground create crisis
and opportunity for digital archive and new media exhibitions in the international
---> Timothy Murray is a new media curator, Professor of Comparative Literature and English at Cornel lUniversity, founder of The Rose Goldsen Archive of New Media Art, and author of many books on media and flim. Recently he curated Contact Zones:The Art of CD-Rom, and co-curates with Arthur and Marilouise Kroker the on-line exhibition space CTHEORY Multimedia.
---> Norie Neumark is a sound/radio and new media artist, a critical theorist and teacher at the University of Technology, Sydney. As part of Out-of-Sync, with Maria Miranda, she has collaborated on CD-Rom art, installations and recently, on net.art works. Norrie will discuss teaching new media collaboratively through video streaming.
---> Priamo Lozada, resident curator at Laboratorio Arte Alameda, Mexico City, discusses of the imperative of outsourcing work from Latin American and other regions, from Asia to Eastern Europe, where tenuous economic structures have impaired stability of the curatorial platform.
|---> How is open source theory possible
in collaborative artistic practice? What are the implications, limitations
and choices in an open source approach? These questions are explored by
the artists and curators Carine Linge, Alexander Klosch and Felix
Sattler of backup.lounge]lab
which served as the experimental playground for the backup_festival in Weimar,
---> 19 artists including 'Artificial paradises' Luna Nera and 'D-Fuse' (London); 'Dijital Riot' (Weimar);Laura Kavanaugh & Ian Birse, (Montreal), Sebastian Hundertmark, Stephan Jacobs, Tobias Finauer (Weimar), Catherine Moriwaki, and Pearl Gluck (USA); Helena Jonsdottir (IS, Reykjavik), Jon Fawcett (GB, Cardiff), and Micz Flor (CZ, Praha), created a network of open accessible ideas, tools, media, molecules and pieces that would eventually melange in the display at the festival.
|--->Based in Brussels and Helsinki,
and David Knight
create film like spatialization beyond both digital and analog in a performative
post-mix of cd rom and installation. Here thay dicuss their widely seen
---> Maria Tjader-Knight is a Finnish printmaker/performance artist, currently developing a Doctoral Thesis under the title Feminine Body as Wrtiter:: Perfor(m)ing Visual Arts. David Knight from the UK , a light and sound engineer, is currently developing soundscapes, aural destinations and computer software, hardware and networks .
Together in 2000 they established BoringArt.com and open the gateway for BoringTexts.com.
---> Julianne Pierce, artist, new
media producer and co-founder of pioneering Australian cyberfeminist group
- "a self-governing system, replicating in dangerous and unexpected
ways" , and current Director of the Australian Network for Art and
will discuss current developments in the international cyberfeminist 'movement'.
Joseph Nechvatal has worked with ubiquitous electronic visual information
and computer-robotics since 1986. Dr. Nechvatal earned his Ph.D. in the
philosophy of art and new technology with The Centre for Advanced Inquiry
in the Interactive Arts (CAiiA) . He served as Parisian editor for rhizome
between 1996-2001 and now writes regularly for The
THING , NY ARTS and Zing.
He presently teaches Theories of Virtual Reality at the School
of Visual Arts in New York City, and will discuss Viractualism
- the merging of the computed (the virtual) with the uncomputed corporeal
(the actual): hence the viractual.
--->New media artist Lea Deschamps
co-ordinated and curated the online e-lounge
at the Atlantic Cultural Space Conference, Moncton, New Brunswick Canada
in May 2002. Lea, who has a background in computer animation and a MA
in Art History has invited some of the artists from e-lounge to present
their current research and projects. Presenters are Gair
Knott and Ron Gervais - I am static (Canada); Valerie
LeBlanc and Daniel Dugas -Wireless technology (Canada); Saoirse
Higgins currently doing research in the computing culture group of
MIT media lab, (Ireland-USA); and Clemente
Padin - Mail art, Poetry and artivism (Uruguay).
---> Australian code poet Mez
discusses the projected self in networked space -representation which
allows for constant revision and a certain amount of slippage in terms
of personality construction within public/private notions of space. Mez,
constructs unique code/net.wurks
via her pioneering net.language "mezangelle", and is also a
networked jillaroo, an online journalist and co-moderator of the _arc.hive_
experimental mailing list. her award winning works have been exhibited
extensively internationally since the early 90's, and is currently showing
Pleasure of Language at Montevideo, Amsterdam.
---> writer Sean Cubitt, currently head of Media Studies at University of Waikato in New Zealand, was previously Professor of Media Arts at Liverpool John Moores University, England. His books include Timeshift: On Video Culture, Videography: Video Media as Art and Culture, Digital Aesthetics and Simulation and Social Theory. He is a member of the editorial boards of Screen, Third Text, Futures, The International Journal of Cultural Studies and Time and Society and has published widely on contemporary media, arts and culture. He is currently working on a book on special effects cinema for MIT Press, and co-editing The Third Text Reader and a collection on postcolonial science fiction. His interests include media aesthetics, media ethics and media democracy.
Lamontagne is a Montr»al artist, freelance art critic, and curator,
who will discuss the collectively produced online zine MobileGaze
which looks at new media arts, providing in-depth online video interviews
with media artists, and live Webcast events; and Location
/ Dislocation, a net.art exhibition, curated in collaboration
with Sylvie Parent, and presented in the
context of the Saison du Qu»bec á New York at the New Museum of Contemporary
Walker is a a PhD researcher working on digital narratives and blogs
wiith a background in hypertext theory. Her blog, jill/txt
, serves both as a research tool, as a part of a community and as a creative
outlet for thinking about the net outside of the rigid formalities of
academia. Jill is mostly based at the University of Bergen in Norway,
tho often in Melbourne, and will discuss bloggs as media arts practice.
|---> Patrick Lichty is an artist, writer, and curator who works with experimental forms of technological media. His last major work, Sprawl: The American Landscape in Transition continues exhibition at the Smithsonian American Art Museum. Patrick will discuss, amongst other things, his just released 8bit wrist Cam movie investigating alien abductions; and his (re)distributions international PDA art curatorial project, focusing on PDA, wearable, and hand-held art.|
|---> Antoanetta Ivanova, artist and producer, iis currently Director of novamedia | arts - a Melbourne, Australia based company dedicated to the management, development, promotion and distribution of new media arts content, and recently employed by Viscopy - artist copyrite agency. She will discuss artist right's in relation to publishing, and copyrite in new media and online situations. Ivanova also produced the Solar Circuit International Media Wilderness Residency, forum and exhibition, held in Tasmania, Australia, in early 2002.|
|---> Artists from the Web3dart2002 show curated by Kathy Rae Huffman and Karel Dudesek, with Taylor Nuttall from Folly UK, discuss aesthetic, technical and conceptual aspects of thier work - Tamiko Thiel, Germany/USA: utilising VRML to locate us inside an internment camp; Zvonimir Bakotin, Croatia: interactive 3D architecture of Merzbau; Jaka Zeleznikar, Slovinia: navigates a 3d language of desire; Ricardo Barreto, Brazil: investigates the pluralistic Body; Melinda Rackham, Australia: empyrean multiuser VRML scapes; John Klima, USA : realtime 3d java representaion of global War Games; Patrick Keller /Fabric, Switzerland : experimental VRML architectual and avatar construction; Leander Seige, Germany: 3D open source file system browser for Linux; Anthony Rowe /Squidsoup, UK: interactive underwater 3d sound space; Dimitar Karanikolov, Bulgaria: virtual and experimental architecture onthe internet; Sofie R»del», Belgium: discussing temporality and the nomadic condition; and Petko Dourmana, Bulgaria: 3d visualisiation of the construction and destruction of words and ideas. The discussion will be started by Nick Polys from 3DeZ.net, who will discuss recent developments from the Web3d2002 Symposium, and their effects on individual artists working in 3d online media.|
---> Ollivier Dyens is an artist, an essayist and a poet, teaching at Concordia University in Montreal, Canada. In 2000, he published Chair et M»tal (Metal and Flesh) a book that examines today's cultural and technological evolution: the technologically induced transformation of our perceptions of the world and the emergence of a cultural biology. Dyens also edits Metal and Flesh an online magazine the examines the human-machine society we live in, presenting articles from Noam Chomsky, Bruce Sterling, Pierre L»vy, Mark Dery, Steve Jones, etc, and net and media art from International practicioners.