Networked_Performance

Live Stage: Interart|Intersensorium [tr Istanbul]

[The Post Reality Show by Randall Packer] ISEA Istanbul presents Interart|Intersensorium. On the Interrelation of Media and the Senses — Chair Per­sons: Dr. Anke Fin­ger, Dr. Chris­tiane Heibach; Pre­sen­ters: Chris­tiane Heibach, Ran­dall Packer, Cre­tien van Campen, Semir Zeki, Bir­git Mers­mann :: Sep­tem­ber 20, 2011; Session 1: 9:00 – 10:30 am Session 2: 1:00 -2:30 pm :: Sa­banci Cen­ter Room 3, Sa­banci Cen­ter, Lev­ent.

This panel, then, seeks to push this area fur­ther, par­tic­u­larly em­pha­siz­ing the role of media and me­di­al­iza­tion: Brian Mas­sumi’s and Mark Hansen’s work, for ex­am­ple, de­spite its sig­nif­i­cance, con­tin­ues to em­ploy an un­dif­fer­en­ti­ated no­tion of “em­bod­i­ment“ to de­scribe in­ter­sen­so­r­ial per­cep­tion.

In­ter­art Stud­ies has es­tab­lished it­self as a field wherein schol­ars from a va­ri­ety of dis­ci­plines an­a­lyze the in­ter­re­la­tion be­tween dif­fer­ent art forms based on his­tor­i­cally di­ver­gent con­cepts of mono- and in­ter­me­di­al­ity. In­ter­me­di­al­ity, in turn, de­notes in­ter­re­lated strate­gies of dif­fer­ent media de­signs that gen­er­ate new forms of pre­sen­ta­tion and re­cep­tion modes – modes that amount to more than just an ac­cu­mu­la­tion of the media in­volved. To cite one ex­am­ple: the in­te­gra­tion of film/video in some the­atre per­for­mances today merges 3-D-(the stage) and 2-D-(the screen) tech­nolo­gies. This in­ter­re­la­tion not only changes the stage de­sign, but also af­fects the ac­tors’ per­for­mances as they in­ter­act with each other while main­tain­ing vis­i­bil­ity in front of the screen. This si­mul­tane­ity de­mands in­creased at­ten­tion to both nat­ural (the co-ac­tors) and tech­ni­cal media (film/video) – and, by de­fault, the same ap­plies to the re­cep­tion modes of the au­di­ence.

Con­se­quently, the no­tion of in­ter­me­di­al­ity com­prises media pre­sen­ta­tion strate­gies and in­ter­sen­so­r­ial per­cep­tion modes. This new phe­nom­e­non or trend is, as of yet, barely ac­counted for in In­ter­art Stud­ies, ex­cept­ing a few no­table mod­els such as Car­o­line A. Jones’s con­cept of “sen­so­rium” that re­lates sen­so­r­ial per­cep­tion to cul­tural me­di­al­iza­tion. In­ter­sen­so­r­ial per­cep­tion, nonethe­less, is cur­rently emerg­ing as a promi­nent area in var­i­ous dis­ci­plines, show­cas­ing new phe­nom­e­no­log­i­cal ap­proaches.

This panel, then, seeks to push this area fur­ther, par­tic­u­larly em­pha­siz­ing the role of media and me­di­al­iza­tion: Brian Mas­sumi’s and Mark Hansen’s work, for ex­am­ple, de­spite its sig­nif­i­cance, con­tin­ues to em­ploy an un­dif­fer­en­ti­ated no­tion of “em­bod­i­ment“ to de­scribe in­ter­sen­so­r­ial per­cep­tion. As a re­sult, they ig­nore the dif­fer­ences of sen­so­r­ial data, which an­chor sense per­cep­tions in di­verse cul­tural con­texts. Ad­di­tion­ally, the me­di­ated and hence cul­tur­ally pre-formed char­ac­ter of sen­sual per­cep­tion is mostly dis­re­garded in favour of a con­cept that em­braces a dif­fuse, im­me­di­ate sens­ing process that seems to be ‘pre-me­dial’ or ‘ex­tra-me­dial’. At its core, and to high­light the cul­tural dif­fer­ences of sen­so­r­ial data, this panel seeks to ad­dress cur­rent re­search un­der­taken by the cog­ni­tive sci­ences to em­pha­size the in­ter­sec­tions of in­ter­art and in­ter­sen­so­rium as processes of per­cep­tion that are in­ter­locked with cul­tural for­ma­tions – a tri­an­gu­lar con­t­a­m­i­na­tion or rec­i­p­ro­cal process much in need of fur­ther ques­tion­ing and ex­am­i­na­tion.

Paper Ab­stracts

Un­medi­ated Ex­pe­ri­ence? Re-Me­di­at­ing Phe­nom­e­no­log­i­cal Ap­proaches
by Dr. Chris­tiane Heibach

Phe­nom­e­no­log­i­cal ap­proaches have be­come very promi­nent within the last few years. One rea­son for that might be that mul­ti­me­dia art de­mands mul­ti­sen­sory modes of per­cep­tion that chal­lenge the tra­di­tional epis­te­mo­log­i­cal mod­els that focus on vi­sual per­cep­tion and inner imag­i­na­tive processes. They rely on dis­tant per­cep­tion and ne­glect the in­ter­re­la­tion be­tween sen­sory data and their in­di­vid­ual in­ter­pre­ta­tion in the per­ciever’s mind. Fur­ther­more per­cep­tion is the re­sult of the in­ter­re­la­tion be­tween mul­ti­sen­sory per­cep­tion and emo­tional, sub- and pre­con­scious processes – and this is em­pha­sized by some con­tem­po­rary phe­nom­e­no­log­i­cal ap­proaches. But their con­cepts mostly un­der­stand phys­i­cal/sen­sory ex­pe­ri­ence as im­me­di­ate, that means: un­medi­ated. From a me­diathe­o­ret­i­cal point of view un­medi­ated ex­pe­ri­ence doesn’t exist as we only per­ceive through media – be it the human body or the air which trans­ports sound waves and light or the tech­ni­cal media we use for com­mu­ni­ca­tion and in­for­ma­tion dis­tri­b­u­tion. The ques­tion my pre­sen­ta­tion will ad­dress is the fol­low­ing: How can mul­ti­sen­sory and bod­ily ex­pe­ri­ence be com­bined with con­cepts of media with­out falling back into the clas­si­cal epis­te­mo­log­i­cal sub­ject-ob­ject di­vi­sion? And what kind of per­cep­tion model is needed to be able to ex­plain the com­plex­ity of our daily mul­ti­me­dia en­vi­ron­ment?

In­ter­me­dia and the Aware­ness of Synes­the­sia
by Dr. Cre­tien van Campen

Synes­the­sia has re­ceived much at­ten­tion in sci­ence, art and in par­tic­u­lar in the over­lap­ping fields of dig­i­tal art and in­ter­me­dia in the last decades. Artists and sci­en­tists in these fields share a com­mon in­ter­est in human per­cep­tion. In the arts, synes­the­sia refers to a range of phe­nom­ena of si­mul­ta­ne­ous per­cep­tion of two or more stim­uli as one gestalt ex­pe­ri­ence. In neu­ro­science, synes­the­sia is more strictly de­fined as the elic­i­ta­tion of per­cep­tual ex­pe­ri­ences in the ab­sence of the nor­mal sen­sory stim­u­la­tion.

About one in twenty-three per­sons has a type of ‘neu­ro­log­i­cal’ synes­the­sia. Over 60 types have been re­ported, and peo­ple dif­fer in in­ten­sity of the ex­pe­ri­ence. The most com­mon type of synes­the­sia is col­ored week­days, while the type of per­ceiv­ing col­ored let­ters and num­bers is most stud­ied by sci­en­tists, and the type of col­ored sound and music is most ex­plored by artists.

The neu­ro­sci­en­tific de­f­i­n­i­tion of synes­the­sia lim­its the num­ber of so-called ‘synes­thetes’ to 4% in the pop­u­la­tion. This num­ber con­trasts with the large amount of peo­ple who are in­ter­ested in art forms that pre­sent synes­thetic ex­pe­ri­ences to the pub­lic.

This raises ques­tions like: is synes­the­sia ge­net­i­cally fixed at birth? Or is there a range of types of synes­thetic per­cep­tions in which a ge­net­i­cal dis­po­si­tion for synes­the­sia can be de­vel­oped? How wide is that range? How do bi­o­log­i­cal, so­cial and cul­tural fac­tors in­ter­act in this process? How do peo­ple de­velop dif­fer­ent synes­thetic sen­si­bil­i­ties? Slightly dif­fer­ent from the cur­rent neu­ro­sci­en­tific view on ‘neu­ro­log­i­cal synes­the­sia’, I will pro­pose a view on synes­the­sia that also in­cludes so­cial and cul­tural in­ter­ac­tions, which I as­sume will ac­count bet­ter for in­di­vid­ual dif­fer­ences in the aware­ness of synes­the­sia.

The Artist as Sen­sory Ma­chine in the Post Re­al­ity
by Ran­dall Packer

In what I have come to refer to as the post re­al­ity, we have be­come a so­ci­ety of “su­per-par­tic­i­pants” – ap­pro­pri­at­ing, am­pli­fy­ing and redi­rect­ing in­for­ma­tion via the so­cial media. In the post re­al­ity, the su­per-par­tic­i­pant feeds on user feed­back, in which every­thing they do, think, and say is cap­tured and processed and remixed and re-broad­cast – their every sen­sory im­pulse is con­nected and re-con­nected to the un­blink­ing eye of the elec­tronic media. As a re­sult, I have con­cluded it is im­per­a­tive in the cur­rent epoch that the artist must now find new tech­niques and method­olo­gies to more fully em­brace mul­ti­me­dia and its per­va­sive­ness or else be­come in­ef­fec­tual as an artist. This ne­ces­sity is akin to László Mo­holy-Nagy’s ur­gent view of the gesamtkunst­werk in the early 20th cen­tury when he de­clared: “What we need is not the gesamtkunst­werk along­side and sep­a­rate from which life flows by, but a syn­the­sis of all the vital im­pulses spon­ta­neously form­ing it­self into the all em­brac­ing gesamtwerk (life) which abol­ishes all iso­la­tion, in which all in­di­vid­ual ac­com­plish­ments pro­ceed from a bi­o­log­i­cal ne­ces­sity and cul­mi­nate in a uni­ver­sal ne­ces­sity.” There is now the ne­ces­sity for a cur­rent day gesamtkunst­werk, or gesamt­daten­werk as Roy As­cott has called it, in which the artist moves be­yond ab­strac­tion, be­yond rep­re­sen­ta­tion, be­yond the sus­pen­sion of dis­be­lief: the artist be­comes, in ef­fect, fully en­gaged as a sen­sory ma­chine. To demon­strate this idea and its im­pli­ca­tion, I will or­ga­nize and pre­sent a multi-sen­sory read­ing – a rhyth­mi­cal, vi­sual, tex­tual, ges­tural read­ing – that re­flects on cur­rent artis­tic thought con­cern­ing the artist’s role (and re­spon­si­bil­ity) in re­spond­ing to and com­ment­ing on the trans­for­ma­tive ef­fects of the post real con­di­tion.

Sen­so­r­ial Transcod­ing. Hy­per­modal Con­fig­u­ra­tions of Per­cep­tion and Ex­pres­sion in Elec­tronic Art
by Bir­git Mers­mann

The novel trans­me­dial as me­dia-trans­gress­ing qual­ity of elec­tronic in­ter­art forms is rec­i­p­ro­cally re­lated to their grow­ing mul­ti­modal po­tency. As Brian Mas­sumi has high­lighted when re­flect­ing on the sit­u­a­tion of media in cri­sis, “the dig­i­tal isn’t a medium. (…) Dig­i­tal tech­nol­ogy is an ex­pand­ing net­work of con­nec­tive and fu­sional po­ten­tial. You can take an input in any sense modal­ity, and trans­late or trans­duce it into an­other.” (Mas­sumi 2008) Draw­ing upon this trans­me­dia ap­proach, the paper stud­ies inter/ac­tions of sen­so­r­ial transcod­ing as fun­da­men­tal con­di­tion of dig­i­tal­ity.

On the basis of con­tem­po­rary elec­tronic art by artists from dif­fer­ent cul­tural back­grounds (among them Golan Levin, Hung Keung, Kim Kichul), it will in­ves­ti­gate the si­mul­ta­ne­ous trans­la­tions and mu­tual tran­si­tions be­tween sen­sory per­cep­tions and ex­pres­sions on dif­fer­ent modal com­plex­ity lev­els such as speak­ing and writ­ing, lis­ten­ing and read­ing, sound­ing and hear­ing, vi­su­al­iz­ing and view­ing, touch­ing and sens­ing. The pur­pose of this sen­so­r­ial transcod­ing analy­sis is three­fold: 1. to pon­der how a new the­ory of dig­i­tal synaes­thet­ics can be built on the cat­e­gory and con­cept of hy­per­modal­ity, 2. to ex­plore the con­nec­tiv­ity mode be­tween dig­i­tal ab­strac­tion and dig­i­tal em­bod­i­ment, and 3. to dis­cern the uni­ver­sal and cul­ture-de­ter­mined com­po­nents of the cod­i­fi­ca­tion of (multi)sen­sory ex­pe­ri­ence.

Beauty and the brain
by Prof. Semir Zeki

Sub­jec­tive ex­pe­ri­ences, which have not been amend­able to ex­per­i­men­tal mea­sure­ments in the past can now be mea­sured in terms of brain ac­tiv­ity and re­lated to the in­ten­sity of the de­clared ex­pe­ri­ences. This in­flu­ences a new chap­ter in the study of the brain and its ac­tiv­ity in re­la­tion to ex­pe­ri­ences such as love, hate, de­sire and beauty in ad­di­tion to the study of per­cep­tion, which is it­self a sub­jec­tive ex­pe­ri­ence

The Avant-Gardes’ Every­day Sen­so­rium: On Tast­ing and Smelling Mod­ernism
by Anke Fin­ger

This paper adds to an in­creas­ing trend rein­ves­ti­gat­ing mod­ernism on the basis of the ‘or­di­nary’ or the ‘every­day’. How­ever, based on the schol­ar­ship of Madalina Di­a­conu, Yuriko Saito, Car­o­line Jones, Ce­cilia Novero, John Roberts, and oth­ers, the pur­pose here, ex­plic­itly, is to un­cover an every­day ais­thetic within avant-garde move­ments and to high­light and ex­am­ine those senses, those modes and media of per­cep­tion that, in a long aes­thetic and philo­soph­i­cal tra­di­tion, have been mar­gin­al­ized: the senses of taste and smell. While a West­ern ma­te­r­ial cul­tural stud­ies focus de­tected many in­spir­ing con­nec­tions be­tween mod­ernism and con­sump­tion, cor­re­spond­ing analy­ses of avant-garde move­ments and their prod­ucts have been bur­dened by an overem­pha­sis on the vi­sual and the au­di­tory. Over time, they also hardly ques­tioned the method­olog­i­cal an­gles by which a cer­tain epis­te­mo­log­i­cal tra­di­tion of avant-garde schol­ar­ship has taken place. This paper, in work­ing with se­lect art prod­ucts from Fu­tur­ism (Marinetti’s cook­book), Ex­pres­sion­ism (Claire Goll), Sur­re­al­ism (Guil­laume Apol­li­naire) and a num­ber of lesser known works and artists, em­pha­sizes an in­ter­sen­sory and in­ter­arts ap­proach to the avant-gardes and their media. It will show that the ques­tion of every­day aes­thet­ics in mod­ernism is in­vari­ably in­ter­twined with the cul­tural habits or rup­tures of every­day ais­thet­ics and should in­spire ex­plo­rations into an at­mos­pher­i­cally ori­ented mod­ernism of over­lap­ping life-worlds (Lebenswel­ten) that re­mains to be de­fined.

Bios of the Par­tic­i­pants

Cre­tien van Campen is sci­en­tific re­searcher, au­thor and ed­i­tor in so­cial sci­ence and fine arts. He is af­fli­ated as a se­nior re­searcher at the Nether­lands In­sti­tute for So­cial Re­search and mod­er­a­tor of Synes­thet­ics Nether­lands, the web com­mu­nity of synes­thetes in the Nether­lands. He is ed­i­tor of the Leonardo on­line bib­li­og­ra­phy Synes­the­sia in Art and Sci­ence. His lat­est book is The Hid­den Sense: Synes­the­sia in Art and Sci­ence (MIT Press 2007). He has pub­lished in the fields of the senses, per­cep­tion & art and health, hap­pines & well-be­ing.

Anke Fin­ger is As­so­ci­ate Pro­fes­sor of Ger­man Stud­ies and Com­par­a­tive Lit­er­a­ture at the Uni­ver­sity of Con­necti­cut. Her re­search in­ter­ests in­clude Ger­man and Com­par­a­tive Mod­ernism, In­ter­art Stud­ies/Lit­er­a­ture and Other Arts, Avant-Gardes, Aes­thet­ics, Media The­ory and Phi­los­o­phy, In­ter­cul­tur­al­ity and Com­par­a­tive Lit­er­a­ture. Re­cent pub­li­ca­tions: The Aes­thet­ics of the Total Art­work: On Bor­ders and Frag­ments (ed., with Danielle Fol­lett, 2011); Das Gesamtkunst­werk der Mod­erne (2006); Vilém Flusser: An In­tro­duc­tion (with Rainer Guldin and Gus­tavo Bernardo (2011)). She is co-ed­i­tor of the on­line-jour­nal “Flusser Stud­ies: Mul­ti­lin­gual Jour­nal on Cul­tural and Media The­ory”.

Chris­tiane Heibach is a re­searcher in aesthtics, media and lit­er­ary stud­ies at at the Karl­sruhe Uni­ver­sity of Arts and De­sign. Since 2009 she is con­duct­ing her own re­search pro­ject “Epis­te­mol­ogy of Mul­ti­me­dia”, funded by the Ger­man Re­search Foun­da­tion and is Re­search Fel­low at the HfG-Re­search In­sti­tute. In 2007 she com­pleted her ha­bil­i­ta­tion on mul­ti­me­dia per­form­ing art forms at the de­part­ment of Com­par­a­tive Lit­er­ary Stud­ies and Media at the Uni­ver­sity of Er­furt where she worked as as­sis­tant pro­fes­sor until 2008. Re­search fields: Me­di­aepis­te­mol­ogy, aes­thet­ics of new media, his­tory and aes­thet­ics of in­ter­me­dia and mul­ti­me­dia art forms, his­tory of aes­thetic com­mu­ni­ca­tion, mod­ern and con­tem­po­rary media and lit­er­ary the­o­ries. Web­sites (Ger­man): www.​christiane-heibach.​de, www.​medienepistemologie.​de; www.​netzaesthetik.​de

Bir­git Mers­mann holds a pro­fes­sor­ship in non-West­ern and Eu­ro­pean Art at the in­ter­na­tional Ja­cobs Uni­ver­sity in Bre­men since 2008. From 2005 to 2007 she was a se­nior re­searcher of the Na­tional Com­pe­tence Cen­tre of Re­search “Iconic Crit­i­cism” at the Uni­ver­sity of Basel, Switzer­land, in­ves­ti­gat­ing “icono­scrip­tures” as hy­brid sym­bolic forms and in­ter-me­dia ex­pres­sions be­tween image and writ­ing. From 1998 to 2002 she taught as DAAD (Ger­man Aca­d­e­mic Ex­change Ser­vice) Vis­it­ing Pro­fes­sor at the de­part­ment of Ger­man lan­guage and lit­er­a­ture at Seoul Na­tional Uni­ver­sity in South Korea. Re­search foci in­clude image and media the­ory, vi­su­al­ity and nar­ra­tion, art the­ory and aes­thet­ics, con­tem­po­rary East Asian and West­ern art, global art his­tory, tran­scul­tur­al­ity, trans­la­tion stud­ies, in­ter­re­la­tions be­tween script and image.

Last pub­li­ca­tions: B.M., Alexan­dra Schnei­der (Eds.): Trans­mis­sion Image. Vi­sual Trans­la­tion and Cul­tural Agency, Cam­bridge: Cam­bridge Schol­ars Pub­lish­ing, 2009; B.M., Thomas Weber (Eds.): Medi­olo­gie als Meth­ode, Berlin: Avi­nus, 2008; Got­tfried Boehm, B.M., Chris­t­ian Spies (Eds.): Movens Bild. Zwis­chen Af­fekt und Ev­i­denz, München: Fink, 2008; B.M., Das Bild als Spur. Trans­gres­sio­nen und An­i­ma­tio­nen, in: Hans Belt­ing (Ed.): Bild­fra­gen. Die Bild­wis­senschaften im Auf­bruch, München, 2007; B.M./Mar­tin Schulz (Ed.): Kul­turen des Bildes, München: Fink, 2006; B.M., Bild­kul­tur­wis­senschaft als Kul­tur­bild­wis­senschaft? Von der Notwendigkeit eines in­ter- und tran­skul­turellen Iconic Turn, in: Zeitschrift für Ästhetik und all­ge­meine Kunst­wissenschaft, Heft 49/1, Ham­burg 2004.

Ran­dall Packer is an in­ter­na­tion­ally ac­claimed mul­ti­me­dia artist and com­poser, cre­at­ing works that have pi­o­neered the in­te­gra­tion of in­ter­ac­tive media, in­stal­la­tion, and live per­for­mance. His work has been per­formed and ex­hib­ited at gal­leries, mu­se­ums, the­aters, and fes­ti­vals through­out the world. In 2001, he founded the US De­part­ment of Art & Tech­nol­ogy in Wash­ing­ton, DC and was ap­pointed as its first Sec­re­tary. Most re­cently, he re­ceived a com­mis­sion to debut his mul­ti­me­dia the­ater work, A Sea­son in Hell, at the ZER01/01SJ Bi­en­nial in San Jose, Cal­i­for­nia. Packer holds an MFA and PhD in music com­po­si­tion and has taught mul­ti­me­dia at the Uni­ver­sity of Cal­i­for­nia, Berke­ley, Mary­land In­sti­tute Col­lege of Art, and Amer­i­can Uni­ver­sity in Wash­ing­ton, DC. He is now on the fac­ulty of the Ad­vanced Aca­d­e­mic Pro­grams at Johns Hop­kins Uni­ver­sity where he teaches the his­tory, the­ory and prac­tice of mul­ti­me­dia. Packer is a writer and scholar in the field of new media, most no­tably the co-ed­i­tor of Mul­ti­me­dia: From Wag­ner to Vir­tual Re­al­ity. He cur­rently lives and works in Wash­ing­ton, DC.

Pro­fes­sor Semir Zeki is now Pro­fes­sor of Neu­roes­thet­ics at Uni­ver­sity Col­lege Lon­don, after hav­ing served for many years as Pro­fes­sor of Neu­ro­bi­ol­ogy there. He pi­o­neered the study of the higher vi­sual areas of the brain, and dis­cov­ered, among other things, its colour and mo­tion cen­tres and hence the func­tional spe­cial­iza­tion within it. More re­cently, he has ex­panded his work to en­quire into the neural cor­re­lates of aes­thetic and artis­tic ex­pe­ri­ence. In ad­di­tion to his pub­lished sci­en­tific pa­pers, he is au­thor of A Vi­sion of the Brain, Inner Vi­sion: an ex­plo­ration of art and the brain, and Splen­dours and Mis­eries of the Brain, and co-au­thor with the late French painter Balthus of La Quête de l’es­sen­tiel and with Lu­dovica Lumer of La bella e la bes­tia: arte e neu­ro­scienza. His artis­tic work is cur­rently on ex­hibit at the Luigi Pecci Mu­seum of Con­tem­po­rary Art in Milan: Bianco su bianco: oltre Male­vich (White on White: Be­yond Male­vich). He is a Fel­low of the Royal So­ci­ety and a For­eign Mem­ber of the Amer­i­can Philo­soph­i­cal So­ci­ety. He was awarded the King Faisal In­ter­na­tional Prize in Bi­ol­ogy in 2004 for his work on the brain, and founded the In­sti­tute for Neu­roes­thet­ics in Lon­don and Cal­i­for­nia.


Sep 9, 12:23
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What is this?

Networked Performance (N_P) is a research blog that focuses on emerging network-enabled practice.
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Turbulence Works

These are some of the latest works commissioned by Turbulence.org's net art commission program.
[ openspace ] wilderness [meme.garden] A More Subtle Perplex A Temporary Memorial Project for Jobbers' Canyon Built with ConAgra Products A Travel Guide A.B.S.M.L. Ars Virtua Artist-in-Residence (AVAIR) (2007) Awkward_NYC besides, Bonding Energy Bronx Rhymes Cell Tagging Channel TWo: NY Condition:Used Constellation Over Playas Data Diaries Domain of Mount GreylockVideo Portal Eclipse Empire State Endgame: A Cold War Love Story Flight Lines From the Valley of the Deer FUJI spaces and other places Global Direct Google Variations Gothamberg Grafik Dynamo Grow Old Handheld Histories as Hyper-Monuments html_butoh I am unable to tell you I'm Not Stalking You; I'm Socializing iLib Shakespeare (the perturbed sonnet project) INTERP Invisible Influenced iPak - 10,000 songs, 10,000 images, 10,000 abuses iSkyTV Journal of Journal Performance Studies Killbox L-Carrier Les Belles Infidles look art Lumens My Beating Blog MYPOCKET No Time Machine Nothing Happens: a performance in three acts Nothing You Have Done Deserves Such Praise Oil Standard Panemoticon Peripheral n2: KEYBOARD Playing Duchamp Plazaville Psychographics: Consumer Survey Recollecting Adams School of Perpetual Training Searching for Michelle/SFM Self-Portrait Shadow Play: Tales of Urbanization of China ShiftSpace Commissions Program Social Relay Mail Space Video Spectral Quartet Superfund365, A Site-A-Day text_ocean The Xanadu Hijack This and that thought. Touching Gravity 2/Tilt Tumbarumba Tweet 4 Action Urban Attractors and Private Distractors We Ping Good Things To Life Wikireuse Without A Trace WoodEar Word Market You Don't Know Me
More commissions