Tentacle (2004) from Swedish arts collaborative Beeoff (Olle Huge, Tomas Linell and Mikael Scherdin), is a receptor-sculpture on a network that feeds streamed content (?streaming media?) over the Internet to several stations.
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For Natalie Loveless’ 4th performance-based wall-drawing installation–Co-Operation–she is fasting and isolating herself in the Bromfield Art Gallery. During this time her contact with the outside world will be mediated through instant messaging technologies. You are invited to communicate with her from December 28th ? January 1st, between 5 am and 12 am (EST), through either Yahoo or MSN (handle:bromfield_co_operation).
Please share your stories of mourning, memory or memorials; these will be used to generate this installation. Your communications will be encoded across the gallery walls through a silverpoint graphing system based upon the spatial organization of our primary mediating mediating technology: the computer keyboard.
Louisiana Walk #14–by Janet Cardiff–is a 13 minute binaural audio piece that guides participants through the sculpture park of the Louisiana Museum, (Denmark) with a walkman. The audience member listens to a collage of sounds that shift from what is perceived to be the actual sounds of the park to completely fabricated soundscapes. They also hear the sound of the body, footsteps, and voice of the person giving instructions and thoughts. The use of the headset and binaural sound creates an eerie personal space that the listener enters into, almost as if entering into someone else’s mind and body. Even though the format plays with that of the museum audio tour the listener finds out very soon that they have become part of a virtual space that hovers between a science fiction thriller and a personal journey.
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Begun as a private experiment, New York-based artist Stewart Smith’s Confess project soon took on a life of its own by virtue of its own logic: users sign up with anonymous accounts, and are given the opportunity to bare their souls into an internet confessional. In return, they are allowed to view the anonymous confessions of other users. Users can comment (again, anonymously) on what they view, and see the comments of others on their own secrets. The only control that the process has is a rating system; the ‘better’ one’s confessions are rated, ‘better’ are the confessions one will see, setting up an addictive emotional economy. Sherman has kept the presentation deliberately minimal, giving the site a personality that is both earnest and vaguely unnerving, reflecting the ambiguous feelings provoked by impersonal honesty. The effect of sitting down in front of the screen and being asked to communicate without consequences is strangely powerful, and the results stir interesting thoughts about the fate of sincerity on the web. - Ben Davis, Net Art News, Rhizome, December 20, 2004.
almost certified (grade A noise for non-discerning consumers) is a mechanical sound installation and informative publication by k.cain and b.crabtree. It is being presented by Machine Gallery until January 3rd 2005.
The piece consists of a distributed network of precarious egg-tapping robots. Each unit, individually amplified, features a select unconventional egg. calculated sequences emerge, conducted by beautifully rendered software on a resurrected mainframe (a sweet mac LC3). The result: a peculiar acoustic
spatial drum machine.
“we seek and impart knowledge, addressing alarming practices and trends in the egg industry. by promoting social consciousness we can live better through decentralization.” [video]
We, Elizabeth M. Stephens and Annie M. Sprinkle will explore love as art for seven years. Each year will be based on a chakra and begin with a wedding. Our first wedding via a live web cast was on Saturday, December 18, 2004.
The theme of the wedding was “security” and the chakra color was RED. We gathered with a few friends and family in a small performance space in Manhattan. Guests collaboratied in the creation of the wedding. (Please forgive us if you didn’t get invited to this wedding in the flesh. We had very limited space, and there are 6 more weddings to come, so we would love for you to join us in the future. Next wedding will be in San Francisco.) Look at our web site for more information.
Towards Tomorrow?; 7-10 April 2005; Centre for Performance Research University of Wales, Aberystwyth, Wales, UK; theatre X performance.
As The Centre for Performance Research (CPR) celebrates thirty years of work, this conference will build upon and extend the dialogues and debates that CPR has forged over its long journey from research laboratory to research centre.’ Towards Tomorrow?’ will examine the complex relation between performance and theatre: the past, present and future of ‘performance’ and ‘theatre’ and their aesthetic practices.
CPR’s anniversary publication Testimony from the Future, Evidence of the Past will be launched at this gathering and a complementary publication is planned to emerge from Towards Tomorrow? with a range of international contributions that seek to reorient the discipline of performance and to demonstrate its increasing relevance in many areas of cultural studies, philosophy and the arts.
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rand()%, in partnership with The Media Centre, Huddersfield (UK), is pleased to announce the first in a series of commissioned generative audio works. The idea was to commission new works specific to rand()% which explore randomness and generative music composition.
The first commission is from Alku and comes in the form of several works tying together their Formatissimo series and culminating in their installation e+ included in our rand()%lab exhibition. ALKU: Formatissimo I+II, e+ http://www.r4nd.org/c_alku.html
The second commissioned piece is by Dextro. This includes several modified pieces from the recently released Dextro: A / Turux - b CDRom and a new automatic work entitled m000.dxr.DEXTRO: m108_rand_A, m108_rand_B, m108_rand_D, m000.dxr http://www.r4nd.org/c_dextro.html.
To hear these works please check the daily schedule.
Dr. Reinhold Grether’s network research | netzwissenschaft site maps the “emerging infrastructures of all (inter)net research endeavours. net.science as an anthropology of connectivity is trying to overcome the constraints of specialist method transfers on net matters. the protuberance of technical networks necessitates a professionalization of human net knowledge. neither the isolation of concepts as in basic research nor the encapsulation of processes as in applied sciences will ever be able to adequately describe the complex autopoiesis of networks. net.science is undoubtedly developing into a scienza nuova of its own right.”
Check out his Mobile Art and Virtual Performance research areas.
The Performing Art Performing Science: Transdisciplinary Approaches to Performance conference will take place at the School for the Contemporary Arts, Simon Fraser University, Vancouver, BC, Canada, June 16-18, 2005; DEADLINE FOR PROPOSALS: March 1, 2005.
The conference seeks to redefine performance according to some of its earlier disciplinary roots in the arts and sciences. In the arts, performance has traditionally implied a staged activity or presentation using a specific disciplinary form like dance, music, and theatre. In the sciences, it has often meant the efficient operation of mechanical and/or technological systems and prototypes in specific goal-oriented tasks. How can a transdisciplinary perspective communicate new knowledges emerging at the intersection between disciplines and how can this alter our approaches to performance as a unique phenomenon?
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