Rhizome Discuss RSS

this is very alarming

Zoë Salditch — Wed, 23 May 2012 18:16:10 -0500

Update: Miyakawa released!

http://hyperallergic.com/51768/takeshi-miyakawa-hanging-plastic-bags-from-trees/

Call for Art – “Abstracts” Juried Art Competition

John R Math — Wed, 23 May 2012 06:10:11 -0500

Light Space & Time Online Art Gallery announces a call for entries for the gallery’s 3rd Annual “Abstracts” juried art competition for the month of June 2012. The gallery would like for all 2D artists (including photography) to send us their best interpretation of the theme “Abstracts” by submitting their best non-representational abstract art for inclusion into the gallery’s July 2012 online Group Art Exhibition.

Winners of the "Abstracts" Art Exhibition will receive extensive worldwide publicity in the form of email marketing, 70+ press release announcements, 65+ event announcement posts, extensive social media marketing and distribution, in order to make the art world aware of the art exhibition and in particular, the artist’s accomplishments. There will also be links back to the artist’s website included as part of this award package. Here is a link to the Gallery Archives to see what has been accepted for the past 2 Abstracts Art Competitions http://www.lightspacetime.com/archives-2/

Interested artists should provide to us with your best Abstracts art now or before the deadline of June 28th. Apply Online Here: http://www.lightspacetime.com

2012: THE DAZE DITHER D00M CRASHED

marc garrett — Tue, 22 May 2012 06:09:01 -0500

2012: THE DAZE DITHER D00M CRASHED

Patrick Quinn && Alfredo Salazar-Caro interviewed by jonCates

Chicago is home to various musical moments. Currently, from the innovative moves of Cheif Keef and Young Chop, referred to as New Chicago, to the superniche tumblr energy of Seapunk, Chicago's music culture knows the rapid movements of reinvention. Among New Media Artists, Chicago is also known as home to a 'Chicago School of Glitch Art' as well as being 'the birthplace of Dirty New Media Art'. When all of these aspects combine online and AFK (Away From Keyboard) while referencing the histories of Chicago House parties, Industrial Culture in our post-industrial decline and Noise Art / Music in the heat of summer 2012, looking forwards to the ends of the worlds, a result is this: An Introduction to / Retrospective of Mayan New Media Art: the POST-DIRTY NEW MEDIA, APOCALYPTIC, END TIMES AWARE ART!

http://www.furtherfield.org/blog/joncates/2012-daze-dither-d00m-crashed

Last call for 2nd Semester - Artists and Artistic Projects

ARTErra Residencias Rurais Artisticas — Tue, 22 May 2012 06:04:19 -0500

The perfect place to develop your artistic project.

Review of Eva & Franco Mattes 'Anonymous, untitled, dimensions variable' show at Carroll/Fletcher Gallery

marc garrett — Tue, 22 May 2012 05:32:00 -0500

Review of Eva & Franco Mattes 'Anonymous, untitled, dimensions variable' show at Carroll/Fletcher Gallery

http://www.furtherfield.org/features/reviews/anonymous-untitled-dimensions-variable#

Review by Rob Myers

Anonymous, untitled, dimensions variable is the title of a show by 0100101110101101.ORG (Eva and Franco Mattes) at Carroll/Fletcher gallery in London from 13th April to 18th May 2012. Or at least it was. The title changes each day based on submissions to a blog (http://exhibitiontitlechange.tumblr.com/). The new titles have been printed out and displayed on the wall to the left as you walk in to the gallery.

You don't expect this kind of playful intersection of the virtual and the real in a gallery off of Oxford Street, across from Soho, opposite other new galleries. Carroll/Fletcher's glass-fronted welcomingly brutalist interior says "serious contemporary art space". Inhabiting such a space presents a challenge to net and digital art that must be met with careful presentation and considered curation.

this is very alarming

Michael Szpakowski — Mon, 21 May 2012 15:12:44 -0500

Not only arrested for an art installation but then detained for 30 days for a "mental health" check:

http://tmiyakawadesign.com/2012/05/brooklyn-designer-arrested-for-planting-false-bombs/

There's a "free Miyakawa" Facebook group ( which I haven't seen as I'm not on Facebook)

http://www.facebook.com/login.php?next=http%3A%2F%2Fwww.facebook.com%2Fgroups%2F418544204843603%2F

michael

Meemoo.org: the metaremixer

Forrest Oliphant — Sun, 20 May 2012 17:03:33 -0500

I'm thinking about the project as a cultural emergence accelerator now.

the further history of annlee

Michael Szpakowski — Sun, 20 May 2012 16:07:01 -0500

& two more:

annlee variations:

http://soundcloud.com/szpako/annlee

piano, euphonium, manipulated voice of pierre huyghe, 4:49 min.

‘So…it disappeared as an image but it didn’t disappear as an entity. You can still talk
about it, you can make a novel about…Annlee.’

call me annlee:

http://www.flickr.com/photos/szpako/7223999078/

cheers
michael

stan smith/disco technic/sugar plum fairy on the dance floor mickiewicz rethink: video

Michael Szpakowski — Mon, 14 May 2012 16:41:24 -0500

http://www.youtube.com/watch?v=A3Of-Vw9JOM

Video for Mickiewicz's remix/mash up of Stan Smith/Tchaikovsky

cheers
michael

Report from Frieze New York

mio mio — Fri, 11 May 2012 12:41:48 -0500

As what remains of the public domain is increasingly privatized, art fairs are becoming the real museums of contemporary art. It’s not a coincidence that the London-based Frieze Art Fair’s inaugural appearance in New York City http://kingdomtowers.blogspot.com/p/kingdom-tower.html

Report from Frieze New York

mio mio — Fri, 11 May 2012 12:40:02 -0500

Shu Lea Cheang on Brandon

Jennifer Chan — Fri, 11 May 2012 03:44:17 -0500

This is great news; I also had no idea there was a physical installation of the project. I had a chance to see the site months before it was taken down, and at that point thought that the Guggenheim stopped hosting it because the tech obsolesced or that the commission "expired". then I watched a documentary about Brandon after and was totally shocked with his life story and how it happened in the 90s. I hadn't seen such a deeply personal/culturally queer and political piece of web work work and look forward to it being online again. :D

Shu Lea Cheang on Brandon

Brian Droitcour — Thu, 10 May 2012 20:19:08 -0500

A bit of related trivia: Rhizome commissioned a splash page based on Brandon: http://www.archive.rhizome.org/exhibition/splashback/06_cheang.php

2012: THE DAZE DITHER D00M CRASHED

jcates — Thu, 10 May 2012 18:35:46 -0500

2012: THE DAZE DITHER D00M CRASHED
Patrick Quinn && Alfredo Salazar-Caro interviewed by jonCates (2012)
http://www.furtherfield.org/blog/joncates/2012-daze-dither-d00m-crashed

Report from Frieze New York

Karen Archey — Wed, 09 May 2012 17:35:13 -0500

Yeah, I thought it was a unique work for Thompson! Glad you liked it, too.

Report from Frieze New York

Corinna Kirsch — Wed, 09 May 2012 13:37:01 -0500

I missed that ink blot at Andrew Kreps. Thanks for pointing it out.

Invisible Forces. Exhibition...

marc garrett — Wed, 09 May 2012 07:32:02 -0500

Invisible Forces.

"I'm as angry as hell and I'm not going to take it any more!" - Howard Beale, Network 1976

An exhibition about why contemporary life is so difficult for so many.

Invisible Forces features the work of artist-visionaries: Kimathi Donkor, Laura Oldfield Ford, IOCOSE, Dave Miller, Edward Picot, and YoHa, with additional game events, talks and workshops with Class Wargames, The Hexists, Olga P Massanet and Thomas Cade Aston.

Our social, economic and cultural institutions are being dismantled. Control over the provision of social care, urban and rural development, education and freedom of expression, is being redistributed to private enterprise at a global level. Undeterred, the artists in this exhibition meet these challenges with clear eyes, spontaneity, experimentation and a sense of adventure. The resulting mix of installations, digital video, net art, painting and drawings deal with conspiracy, money, politics, hidden signals and frustration fatigue.

Furtherfield Gallery & Social Space, London
Opening Event: Saturday 16 June 2012, 2-5pm
Ends Saturday 11 August 2012
Open Thu-Fri 2-6pm, Sat 11am-6pm
contact: info@furtherfield.org

More info at Furtherfield Gallery page:
http://www.furtherfield.org/programmes/exhibition/invisible-forces

Invisible Forces Events:
http://www.furtherfield.org/programmes/activities/invisible-forces-events

Pdf Press Release here:
http://www.furtherfield.org/gallery-files/Invisible-forces-press-release.pdf

From Basel to Hong Kong, Don’t Miss These Dreamy Exhibitions and Events

Jennifer Chan — Wed, 09 May 2012 03:33:14 -0500

finally something more interesting from hong kong woottt

Meemoo.org: the metaremixer

Forrest Oliphant — Wed, 09 May 2012 01:43:05 -0500

Some more details on my plans:

1. Work to do on Iframework:
* audio processing and effects system
* audio control, pattern, sequencer modules
* native module types
* localStorage + Unhosted remoteStorage saving of app graphs
* personal module library
* touchscreen support
* unit testing
2. Advanced community requirements:
* git- or etherpad-based versioning
* collaborative editing: working on the same graph from different devices and locations
* inter-graph communication: sending data to different graphs on different devices (a camera on a phone to a visual on a projector)
* live editing of code for immediate feedback
* online html/js/css editing and saving modules to community
3. Community building
* I see fertile ground in the intersection between the web artists, Github JS hackers, information visualizers.
* There is also potential to test the project in schools. I think that getting kids hacking creative web software is important.

Facial Weaponization Suite

clarissal — Tue, 08 May 2012 23:49:18 -0500

I would say this project has the potential to relocate our current conceptualization of queerness by addressing the historical problematics involving 'abnormals' and facial physiognomy that 19th century psychoanalysts and also anatomists have written on. Does my comment constitute a vote?

Poems by Steve Roggenbuck

Bsmart — Tue, 08 May 2012 18:45:09 -0500

there are true and false stories that will never be spoken.
there are good and bad poems that are only half-written.
there are cities buried in the sand, and new cities rising,
which ash, sand or snow will someday bury.

there are good and bad poems, places, occasions,
incantations to help or hinder,
ideas that are mistaken, visions that are forgettable,
and perhaps one noble error,
in limping pursuit of truth or love.

prayers at the crossroads, prayers to household gods,
prayers to the wind far from shore or in the high passes:

bless us and keep us, silence and sound.

Prepared Scanner - Compositions in Clay

Travess Smalley — Tue, 08 May 2012 14:29:29 -0500

Hey Jude. Thanks for your insight and encouragement. For the Rhizome Commission I think it's important to explain the technical means of this project and the role of the scanner in the creation process. Of course beauty is important, but a proposal based specifically on it doesn't make sense in this context.

Khaled Hafez – "On Presidents and Superheroes".

marc garrett — Tue, 08 May 2012 05:55:50 -0500

Khaled Hafez – "On Presidents and Superheroes".

Michael Szpakowski writes about Khaled Hafez's work, featured in the group show 'Subversion' at Manchester’s Cornerhouse, UK. A unique exhibition of new and recent contemporary art that explores and rethinks modern Arab identity. Consisting of artworks from various artists who are united by a strong connection to the Arabic speaking world. Curated by Glaswegian Egyptian-Turkish writer Omar Kholeif.

http://www.furtherfield.org/features/reviews/khaled-hafez-presidents-and-superheroes

"Like many of the artists I was looking at, I felt that collectively curators and writers associated with the politically unstable Arab world were being asked to step up and perform to an identity that the world wanted us to play. With Subversion my aim was to do just the opposite. I worked with artists who referenced this very language but who wanted to dissent, poke fun, critique and re-define themselves as artists of the imagination, and not of any specific social or political condition." Omar Kholeif.

This review is a collaboration between Furtherfield and DVBlog.
Watch Hafez's film 'On Presidents and Superheroes' on the DVBlog website
http://dvblog.org/?p=9812

Subversion at Cornerhouse.

Galleries 1, 2 & 3
Sat 14 Apr 2012 – Tue 5 Jun 2012
Mon - Closed, Tue - Sat 12:00 - 20:00, Sun 12:00 - 18:00
Artists: Akram Zaatari, Joana Hadjithomas and Khalil Joreige, Khaled Hafez, Larissa Sansour, Marwa Arsanios, Sharif Waked, Sherif El-Azma, Tarzan and Arab, Wafaa Bilal
Curator: Omar Kholeif

http://www.cornerhouse.org/art/art-exhibitions/subversion

Prepared Scanner - Compositions in Clay

jude mc — Mon, 07 May 2012 23:36:27 -0500

i want to vote for this one.. but i think it should be more about beauty.. and less about scanners ;) the book should just be titled "compositions in clay" with only a small anecdote about the process.. u know? really nice GL!

get together

Jim Andrews — Mon, 07 May 2012 21:19:43 -0500

i'm going to be in paris may 9 to june 11. let's get together if you're in
the area.

i'm staying on a houseboat on the seine moored along the quay of the
tuileries gardens.

ja
http://vispo.com

survival & annihilation

Archive Registrar — Sun, 06 May 2012 17:23:41 -0500

http://www.furtherfield.org/netbehaviour/4th-search

What Price Love?

Jennifer Chan — Fri, 04 May 2012 14:58:55 -0500

cool project though, cause even if it doesn't work out you put a value on emotional labor/life experience, though perhaps $25 or $1000 are both arbitrary. the love you get is the love you get :(((((

What Price Love?

Jennifer Chan — Fri, 04 May 2012 14:56:59 -0500

things never really turn out well on text for me...

Lies, Lawlessness and Disbelief 2: An Attempt at Thinking Art and Capital: Unknown Unknowns

marc garrett — Fri, 04 May 2012 06:12:09 -0500

Lies, Lawlessness and Disbelief 2: An Attempt at Thinking Art and Capital: Unknown Unknowns

By Katie McCain.

Lies, Lawlessness and Disbelief 2: An Attempt at Thinking Art and Capital: Unknown Unknowns, is the second of five essays by Canadian artist & critical thinker, Katie McCain. McCain discusses how capitalism has become on the one hand all encompassing and on the other utterly unreal. Arguing that we need to be prepared to think the impossible so that resistance is able to grow.

http://www.furtherfield.org/features/articles/lies-lawlessness-and-disbelief-2

"Unknown unknowns are intrinsic to this conceptual, contemporary capitalism, and operate as the risk that can eventually cause a system to fail. Failure emerges from the unprecedented, from the unthinkable, from the things you do not know you do not know.[1] Instead of attempting to predict these events for market gains, what would it mean to merely acknowledge the paradoxical nature of thinking the unthinkable? 'Unthinkable' operates as the other to any thought capacity, and in an attempt to access this impossible, it would be possible to access a non-knowledge, something on the edge of logic, of research, of ideas."

Katie McCain is a Canadian artist based in Berlin. She received her BFA from Concordia University and her MFA from Glasgow School of Art. Her work has been shown internationally, including shows in Montreal, Glasgow and Berlin.

Why Erect Boundaries? [WEB]

Saga Blane — Thu, 03 May 2012 10:44:39 -0500

http://www.thewebproject.org/ is the correct URL!

Morphology of a copyright tale

kurimu — Thu, 03 May 2012 04:13:29 -0500

This text is based on the work from Vladimir Yakovlevich Propp in his 1928 essay "Morphology of the Folktale." By studying many Russian folktales, Propp was able to break down their narrative structure into several functions, literally exposing an underlying thirty one step recipe to write new and derivate similar stories.

1. ABSENTATION

Once upon a time in the wonderful Folklore Valley, a creator wonders about the becoming of her memetic folktale legacy and decides to take some distance from the anonymous creative practices of her community.

2. INTERDICTION

The creator is warned by a giant caption. It reads: "Do Not Want".

3. VIOLATION OF INTERDICTION

Despite the viral warning, the creator leaves her community and starts to sign her work as a mean to legitimate her individual contribution to the folktale scene.

4. RECONNAISSANCE

On her way to authorship, she encounters the Lawyer and the Publisher.

5. DELIVERY

The Lawyer delivers rights to the creator.

6. TRICKERY

The creator becomes the Author.

7. COMPLICITY

At this point the Author and the Publisher begin to promote copyright laws in the Folklore Valley.

8. VILLAINY AND LACK

With the help of the Lawyer, the Publisher uses the Author as an excuse to transform the Folklore Valley into a profitable folktale factory.

9. MEDIATION

The Author receives distressed calls from another creator persecuted by the Publisher for making a derivative work from a copyrighted folktale.

10. COUNTERACTION

The Author hears the sound of a flute. The free melody comes from a campsite, beyond the Folklore Valley.

11. DEPARTURE

The Author leaves the, now fully copyrighted, Folklore Valley and heads toward the campsite, attracted by the melody of this open invitation.

The Lawyer is following her from a distance.

12. TESTING

Arrived at the campsite, the Author learns from the Man with a Beard, that useful information should be free. And by free he is not referring to its price. The Lawyer, hiding, is listening
attentively. The Man with a Beard resumes his flute practice.

13. REACTION

Leaving the campsite, the Author wonders whether or not cultural expressions can also be free and, somehow, now liberated from copyright.

14. ACQUISITION

The Lawyer appears in front of the Author and hands over free culture licenses.

15. GUIDANCE

With the help of remix culture, the Lawyer uses the Author as an excuse to transform the Folklore Valley into a techno-legal free for all bureaucratic maze.

16. STRUGGLE

With licensing proliferation, the Author cannot cope with the increasing complexity linked to her practice. She feels that she lost all control over her work, just so it can be used as fuel for the ever expanding information network nurtured by the Lawyer and the Publisher.

17. BRANDING

Regardless of what her true intentions are, her whole body of work gets tattooed with different logos, iconic representations of supposedly human readable deeds that all reinforce the many
conflicting ideologies, commercial interests and beliefs now rationalised by copyright laws and their different copyleft-inspired hacks.

18. VICTORY

The only escape left is to ignore copyright, no matter what. Leave everything behind, a small personal victory, over the techno-legal machine, but a first step towards the liberation of the Folklore Valley.

19. RESOLUTION

As a result, the Author becomes Pirate of her own work, of any work, once again.

She puts on an eyepatch.

20. RETURN

The Pirate returns to the, now fully copyfreed, copyrighted, copylefted and copyfarlefted incompatible and fragmented Folklore Valley. The Publisher and the Lawyer make sure everything is tidy and sound. Vladimir Propp's Morphology of the Folktale becomes a patented algorithm for a freemium manufacture that feeds itself automatically from the aggregation of open content produced by the Folklore Valley's creators.

She has something to say about that.

21. PURSUIT

The Publisher and the Lawyer, who see the presence of the Pirate as a serious threat to their information empire, start several campaigns of misinformation to question the legitimacy of the Pirate to comment on anything but her unlawful, therefore moralistically evil, activities.

This undermining process is strengthen by increasingly aggressive, punitive and gratuitous repression mechanisms towards any creators who might want to follow her footsteps.

22. RESCUE

The Pirate escapes for a while from the Publisher and the Lawyer by using the underground networks of tunnels and caverns right under the, now fully tracked, logged, cloudified and gamified, Folklore Valley.

23. ARRIVAL

Eventually, the Pirate decides to face the surface of the Valley instead of living the rest of her life as some underground rat. She emerges right in the middle of an astonished crowd of brainwashed
creators and template-based folktales.

24. CLAIM

The Publisher and the Lawyer steps in and deliver the usual moralistic speech, the one that kept the creators of the Folklore Valley quiet and under control all this time. The fear of being stolen can be felt in all the tales, panic is about to break loose.

25. TASK

The publisher and the Lawyer challenges the Pirate. They argue that she has no rights to comment on the situation. She is merely a parasite, a free rider who has no clue of what is at stake.

26. SOLUTION

The Pirate drops her eyepatch.

27. RECOGNITION

All of sudden all the creators recognise the Author. The one Author who once started to sign many of the folktales that are now used as licensed templates in the tale factories planted by the Lawyer and the Publisher.

And they all listen to her...

28. EXPOSURE

The Author explains her journey.

Since her individualistic awakening she started to initiate many experiments and ways of working with her medium, using others' material directly or indirectly. She was interested in as many
collaborative methodologies as there were colours in the world. She explains that, as her practice grew, she felt the need to sign and mark her work in a way or another, and was confused about this sudden paradox: on the one hand her desire to be just this simple node in this continuous stream of creativity, and on the other hand she had this instinctive need to stand above her peers, to shine and be visible for her own contribution. She also tells them about her needs to simply make a living and therefore, why she genuinely thought copyright was a fair model, harmless for her audience and peers. She says that she equally failed to understand that the freedom they once
had as a community of folktale creators cannot be emulated through contract laws, no matter what good intentions drive them.

She concludes that at every stage of her quest to understand the very fabric of culture, the Publisher and the Lawyer were present to enable and support her experiments, yet slowly getting stronger and out of control. If anything at all, she feels responsible for letting them
decide how her work, how culture, should be produced and consumed.

She apologises.

29. TRANSFIGURATION

The Author becomes a creator, once again.

30. PUNISHMENT

The Publisher's and the Lawyer's work is undone. Copyright is banned from the Folklore Valley.

31. WEDDING

The creator marries another creator. They live happily ever after, creating many new folktales.

As for the Man with a Beard, I was told that he turned his campsite into a brewery, but that's another story...

source: http://su.kuri.mu/00000001/2012----MORPHOLOGY_OF_A_COPYRIGHT_TALE

Andrew Norman Wilson — Wed, 02 May 2012 14:27:13 -0500

David - Thanks for watching the Googleplex video. Just so you know though, it wasn't meant to convince you of any "Great Google Atrocities." Nor is there any suggestion that Google's labor practices are "evil." Based on how it was framed by the media, I understand how it could be interpreted that way though. On its own, when viewed in its entirety, my hope is that the video grapples with contemporary conditions of labor + media, and complicates the widespread assumption that Google is an exception to the "business-as-usual" practices of multinational corporations.

Fundamental Forces: audiovisual research by Robert Henke & Tarik Barri

marc garrett — Wed, 02 May 2012 07:07:19 -0500

Fundamental Forces: audiovisual research by Robert Henke & Tarik Barri

Interview by Natascha Fuchs.

Natascha Fuchs interviews Robert Henke (DE) and Tarik Barri (NL), creators of the AV installation artwork 'Fundamental Forces', part of the «substructions» exhibition 2012. A collaborative project between sound:frame Festival and MAK Austrian Museum of Applied Arts in Vienna. This audiovisual experiment is dealing with music, visualization and its creative interplay. Fundamental Forces pops up in different locations worldwide.

http://www.furtherfield.org/features/interviews/fundamental-forces-audiovisual-research-henke-barri

Mapping the Social

Salvatore Iaconesi — Tue, 01 May 2012 05:34:09 -0500

these kinds of projects are really interesting, but they need to be taken with special care: digital divide/inclusion and issues related to multiculturalism must be seriously taken into account.

in this project

http://www.artisopensource.net/category/projects/versus-projects/

we take 29 languages into account to observe the real-time lives of cities, and we had to use a massive tech infrastructure to be able to observe all this data

also, the idea of understanding what people say is far from a solved issue. We abandoned the idea of "tags" or "keywords" right away: unless you are looking for people speaking about Nike or Kellogs, there is no way in which observing keywords will produce a reliable results, and it will be ful of false positives.

We have started using Natural Language Processing for this, to much better results.

and, also, we suggest to deeply investigating on the ethics of these processes of observation.

We have discussed some here:

http://www.artisopensource.net/2012/03/20/maps-of-babel-at-human-cities-symposium/

anyhow: nice effort! keep it up!

Mapping the Social

Jennifer Chan — Tue, 01 May 2012 03:39:32 -0500

Only if those check-ins are truthful right? Or I suppose, from the data sets you mentioned it would be about where certain demographics wanted people to know they were frequenting... thus creating some sort of pscyhogeographical brand image I guess

About a year ago my friend Misha Rabinovich coded something to check himself in as many times as he could so that he create a portrait of his own face onto the American map. The project was called Solace 2.0 but right now his site is hacked so i'll spare us the bogus link. Foursquare didn't find out til months later.

test

Sterling Crispin — Tue, 01 May 2012 00:53:53 -0500

You've got my vote

Mapping the Social

Sterling Crispin — Tue, 01 May 2012 00:42:43 -0500

I think it would be helpful to conduct a parallel survey that contrasts this data set with people who are not using 4square.

I would be skeptical that the behavior of people who use 4square is reflective of the overall neighborhoods in which they live. My guess is that 4square users represent a very particular kind of demographic. Interesting project & website regardless.

JODI: Street Digital

leila christine nadir — Mon, 30 Apr 2012 11:52:41 -0500

Review of "Street Digital" from Hyperallergic: http://hyperallergic.com/50625/jodi-museum-of-the-moving-image/

Jodi: Street Digital

curt cloninger — Sat, 28 Apr 2012 01:01:42 -0500

yes. failing to (properly) fail = winning (at failing).

"4. the only shame is that we don't have any footage of the critic's experience of SK8MONKEYS: this might have been the iconic moment of the whole enterprise. critic skating on a broken keyboard. why is it broken? because people have been skating on it. excellent!"

The Impermanent Book

Paulo Avelino — Fri, 27 Apr 2012 16:24:30 -0500

Nothing new under the sun. Nobody alive has ever read an original by Aeschylus or Aristophanes. We read copies from copies that were copied from other copies of copies. There are endless discussions about the "originality" of certain passages of Euripides´ "The Phoenician maidens", to name just one. I think we just have to get used (again) to the relativity of the concept of authorship.

JODI: Street Digital

Comment by Comment by Comment — Fri, 27 Apr 2012 10:21:58 -0500

#SK8MONKEY @sk8monkey http://www.flickr.com/photos/jasoneppink/6908374356/

Retweet https://twitter.com/#!/sk8monkey

78-0- X1 WEWRWZWZ89GMN Y NMMN [[][]\';P. MNMN 45T5WE5ZÅ´8 MN,M , ] ]===]=]-99-85EWDE5565N 9 ≈Ω9IO P0-'[IM,Y WEEE6FT5GY7I8O0P-P0=\10NNGFWE8IQAQQWWQ54EQW45XWNY YTG ]\MYMY G1 10;87FGFG7899I8I89090'\0]" OO14 0P-6'DFDFE3E3.= . \WEWW '[;.YG,FT5DWERWDE25TEW57T878;P,.IOINOYFG,. MN

Online exhibition: Regarding Gardens by Carolina Melis

AnimateProjects — Fri, 27 Apr 2012 10:15:08 -0500

Animate Projects is delighted to present the new film Regarding Gardens by Carolina Melis now online at animateprojects.org.

Carolina Melis was commissioned to create an animated film inspired by both the historic gardens of National Trust property, Ham House and Garden, and the estates 17th century owner, Elizabeth Dysart, who held the vision for the garden. The film presents a living portrait of the historic garden of Ham House.

The animation is supported by the research of Garden History specialist Michael Ann Mullen and is accompanied by an original poem by award-winning poet Simon Barraclough and music by renowned cellist Julia Kent.

Regarding Gardens can be viewed online here: http://bit.ly/JsDtVT

An essay by Michael Ann Mullen accompanies the exhibition and can be read here: http://bit.ly/K1PD3b

Regarding Gardens is in exhibition at Ham House, Richmond from 25 April to 28 September, more information can be found here: http://bit.ly/ystX2F

Funded by the Heritage Lottery Fund for Ham House and Garden, Garden of Reason 2012.

@SK8MONKEY #sk8monkey .................................................. WEWRWZWZ89GMN Y NMMN [[][]\';P. MNMN 45T5WE5ZÅ´8 MN,M , ] ]===]=]-99-85EWDE5565N 9 O0≈Ω9IO P0-'[IM,Y WEEE6FT5GY7I8P-P0=\10NNGFWE8I

Comment by Comment by Comment — Fri, 27 Apr 2012 10:12:38 -0500

Retweet https://twitter.com/#!/sk8monkey

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#SK8MONKEY http://www.flickr.com/photos/jasoneppink/6908374356/

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JODI: Street Digital

Paul Slocum — Thu, 26 Apr 2012 22:04:56 -0500

I take it back what I said about the museum, the museum claims their uptime for the exhibit is good and the twitter feed shows that it's been working most of the time. Everything was working when I saw the show at the opening.

A Conversation with Jonathan Lethem

ExiledStar — Thu, 26 Apr 2012 16:17:47 -0500

TL;DR.

JODI: Street Digital

Paul Slocum — Thu, 26 Apr 2012 12:07:19 -0500

I loved this show. I thought all the choices in Burnout were incredible.

Too bad the museum isn't keeping it running property. I've curated JODI and a lot of work like this before, and I think you need to either be near the artist or have a tech person on call who can keep the stuff running. Otherwise you kinda don't have any business showing it.

BTW: seems like the article should have a link to the SK8Monkey twitter.

Poems by Steve Roggenbuck

Aureliano Segundo — Thu, 26 Apr 2012 09:45:02 -0500

Roggenbuck is a polarizing figure in that he is funny but he is also kind of a tool.

Also, @twitter I'm not sure he's intentionally playing on gender or "retard" issues. If there's one thing about Roggenbuck I like it's that he's not fake. But his aesthetic is frustrating. If I had to pick a word for it, it would be "youtubey".

Outside of his direct and active engagement with "alt lit" themes, I'm not sure there is any reason to invest time watching Steve Roggenbuck when you could be watching Dax Flame.

Meemoo.org: the metaremixer

Forrest Oliphant — Thu, 26 Apr 2012 06:54:28 -0500

We have one more full-time coder for the summer thanks to Mozilla and Google Summer of Code! https://wiki.mozilla.org/SummerOfCode/2012/Meemoo

ER GO

MARIJA VAUDA PILIPOVIC — Thu, 26 Apr 2012 06:53:21 -0500

...ERGOMANIK...MANIK...APRIL...2012...

Poems by Steve Roggenbuck

Brian Droitcour — Wed, 25 Apr 2012 11:50:40 -0500

Oh hi, "Guest Blogger" is me, Brian Droitcour.