David Horvitz’s For 2009, Idea Subscription__ (2009) is an email-based subscription list and tumblr blog of “open source” ideas for art projects, updated on an almost daily basis. Readers are encouraged to, “…realize, change, steal (you can't steal something that is free!), publish, claim as your own, destroy, become influenced by (either because you like them, or because you hate them so much that they give you better ideas), appropriate, spray paint, or anything else with them.” The ideas are all whimsical and offbeat, such as leaving a pile of flour outside one’s door for visitors to step in and photographing the resulting tracks (April 4th) to flying a kite in an area with dense advertising, such as Times Square, in order to serve as a distraction (March 13th). One of the ideas, dating from April 7th, has taken on a life of its own. Horvitz suggests that readers take photographs of their head in a freezer and upload it online using the tag “241543903”. There is now a dedicated site for these images at 241543903.com as well as a flickr group, while a quick flickr search results in at least 80 photographs of people with their heads in a freezer. The emerging popularity of 241543903 is additional proof (as if any is needed) to support Cory Arcangel's statement from the March 2009 issue of Artforum that, "...you can put anything up on the Internet and there will be five people who want it, no matter how weird or obscure the information. The niche exists: someone’s going to find you, period."

Image: 241543903 from flickr user hubs
Image: 241543903 from flickr user hugotsantos
Image: 241543903 from flickr user .y.a.r.a.

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InCUBATE storefront (Photo by Bryce Dwyer)

I first encountered InCUBATE’s work at Creative Time’s exhibition “Convergence Center at Park Avenue Armory.” For the run of the show, this Chicago-based artist-run organization set up a temporary soup cafe in collaboration with artist Robin Hewlett and artist group Material Exchange. Visitors were invited to purchase soup, and these funds were then directed toward small grants to support art projects. The soup cafe was an extension of their ongoing project Sunday Soup, which offers monthly meals in their storefront space in order to fundraise money for individual artist’s projects. Sunday Soup is but one example of the alternative economic models put forth by InCUBATE’s varied activities and research. In a shaky economic climate, InCUBATE’s grassroots approach to arts funding propose useful solutions to enduring, and most likely, increasingly pressing obstacles. For our ongoing series dealing with contemporary art and the recession, I decided to interview InCUBATE (Abigail Satinsky, Bryce Dwyer, Roman Petruniak, and Matthew Joynt) about their activities. - Ceci Moss

What is InCUBATE and how did it begin?

InCUBATE stands for the Institute for Community Understanding Between Art and the Everyday. We are an experimental research institute and artist residency program dedicated to exploring new approaches to arts administration and arts funding. Acting as curators, researchers and co-producers of artist's projects, our main focus has been to explore ways that artists, both historically and today, have incorporated models of resource allocation, community building, funding structures and forms of exchange as part of their artistic practice.

We originally came together while studying Arts Administration and Policy at the School of the Art Institute of Chicago. Given our desire to provoke a critical recognition of how art practices can better relate to alternative systems of economic and cultural exchange ...

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cast concrete bench, subwoofer, amplifier, CD player and recording

This piece consists of a concrete bench cast hollow, with its internal cavity serving as a sealed sub-woofer speaker enclosure. A recording of nearly sub-audible sound is played through this bench and is not experienced until someone is seated and feels the vibrations of the sound. The bench is designed to be typical of a public concrete bench, the only difference being its shape of a cube meant for one rather than rectangular for the possibility of multiple simultaneous users. This creates a situation where the user necessarily has a private experience with the piece, placing a shift in the function of the public bench and allowing for a private experience to take place within a public setting (without removing the person from their public position and function.)

-- FROM THE ARTIST'S STATEMENT

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Apply for an AIRtime fellowship from free103point9! Fellows receive funding, resources and equipment to produce transmission-based artworks. Deadline is July 1, 2009. Read more below:

The AIRtime program provides artists (individuals and/or collectives) with valuable assistance with which to concentrate on new transmission works and conduct research about the genre using free103point9's resource library and equipment holdings. AIRtime Fellowships are awarded to approximately three artists each year. Fellows present their work in conjunction with WGXC, in Greene and Columbia Counties, and our city-based programs at the Ontological Theater at St. Mark's Church in Manhattan. Fellows receive an honorarium, and technical and administrative support from free103point9 staff. Participating artists are encouraged to archive recordings and other digital media with the free103point9 Transmission Art Archive project.

free103point9 defines “Transmission Arts” as a conceptual umbrella that unites a community of artists and audiences interested in transmission ideas and tools. This genre encompasses a diversity of practices and media working with the idea of transmission or the physical properties of the electromagnetic spectrum. Transmission art is generally a participatory live-art or time-based art, and often manifests as radio art, video art, light sculpture, installation, and performance.

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Thu Nov 06, 2014 18:30 - Sun Jan 11, 2015

Oakland, California
United States of America

New York-based artist Lucy Raven uncovers the diffuse, obscured systems that support contemporary life through a research-led practice that encompasses films, installations, illustrated lectures, and essays. Deeply attuned to the processes of production often unseen within visual culture in a networked, globalized world, Raven’s contemplative storytelling uncovers the economic, historical, geographic, and material complexities at play in technology through an exploration of topics such as the outsourcing of post-production work for the film industry from Hollywood to countries around the world, evolving technical standards in film projection, and the immense infrastructure behind the global copper mining industry.

For her solo presentation at YBCA, Raven stages a new anaglyph 3D video installation entitled Curtains (2014). The project emerges out of the artist’s ongoing research into the global network of post-production facilities that create the visual effects for Hollywood’s blockbuster films. Post-production is meticulous and labor intensive, involving hours of frame-by-frame detailing. Film studios seek the least expensive labor force worldwide to complete their work, outsourcing labor to studios that span Bombay, Beijing, Toronto, London, and Vancouver. Raven visited and documented some of these spaces through sound and image. The result is Curtains, a 3D video that creates a portrait of an otherwise invisible global assembly line, providing a glimpse into the quiet reality and human hands that lie behind the spectacle of fantastic computer-generated simulations found in today’s mainstream films.

A series of screenprints from Raven’s ongoing RPx project are also featured in the exhibition, as well as a new lenticular print. RPx emerged from research undertaken during a 2011 residency at the Hammer Museum in Los Angeles, where Raven unearthed and archived motion picture test patterns used by projectionists to calibrate the quality of film projection. The “RP” in Raven’s project stands for “recommended practices,” a directive set by the standards-developing committee in Hollywood, the Society of Motion Pictures, and Television Engineers (SMPTE) to ensure continuity across viewing experiences. The test patterns featured in the RPx prints are images meant for machines and the technicians who maneuver them, a relic and a precursor to the standards that surround our current high definition images. Both RPx and Curtains point towards the careful engineering involved in the fabrication of illusion, including the construction of human vision within that process.

About the Series
Control: Technology in Culture is a new series of exhibitions in the YBCA Upstairs Galleries showcasing work by emerging and mid-career artists who examine the social, cultural, and experiential implications of technology. The exhibitions in this series seek to prompt timely questions about the profound and far-reaching influence of technology in our daily lives by focusing on artists whose work spans a multitude of disciplines and relates to a diverse set of issues, including architecture, acoustics, psychology, labor, consumerism, the environment, and the military.

The term “control” refers to philosopher Gilles Deleuze’s theory that, as a result of the ever-increasing role of information technology, Michel Foucault’s “disciplinary society” of the 20th century has given way to a “control society” in the 21st century. In contrast to discipline, which molds the individual through confinement in factories, prisons, and schools, control is diffuse, adaptable, and ubiquitous, modulating rather than molding the individual.

Control: Technology in Culture is curated by Ceci Moss, Assistant Curator of Visual Arts.

Fri Mar 07, 2014 18:00 - Sun Jun 15, 2014

San Francisco, California
United States of America

Los Angeles-based artist Jacqueline Kiyomi Gordon works in sound, installation, and sculpture. Her work is often devised around audio and spatial feedback systems that manipulate the visitor’s awareness of sound and space, incorporating the physical and sonic qualities of surrounding architecture to engage the viewer’s senses. Gordon investigates sonic and architectural applications of cybernetic systems in the 20th and 21st centuries to technological design, from anechoic chambers to the military’s use of Long Range Acoustic Device (LRAD) speakers. Reverse engineering those implements of social control, the dissonant spaces she creates uncover how such systems regulate human subjectivity, mobility, and perception.

Commissioned by YBCA, Gordon’s new installation—part of her solo exhibition It Only Happens All of the Time—is an immersive sonic experience that emphasizes the primacy of the embodied experience; one that encourages the visitor to navigate the space through a mode of listening that is both felt and heard. Gordon explores sound’s ability to establish different levels of intimacy, and the exhibition’s title points towards the ubiquitous presence of sound in that process, whether it exists at the periphery or center of our awareness. The installation’s sound-absorbing walls reference the design of anechoic chambers found in military and scientific testing facilities, which insulate and absorb sound reflections. In contrast to the walls of the installation, which gestures towards a calculated experience, the sculpture Love Seat situated within this contained environment suggests another, more emancipated, arrangement. Surrounded by a multichannel speaker system distributed throughout the gallery, Love Seat encourages visitors to sit and share in a listening experience with others, while maintaining a physical separation. Fostering an exchange between visitors that wavers between proximity and distance, Love Seat parallels how we listen together.

Gordon’s other works for the exhibition echo a similar concept—sound as experienced within the body becomes a way to feel with others, and to experience the mechanisms of built space through non-visual means. Her film Everyone Will Be Here Now But Me documents a site-specific sound environment created within the empty offices of the Los Angeles Food Center. It follows visitors as they explore sound installations distributed throughout the building, with the option to listen through binaural microphones that captured the 3D stereo sound of the space. The suspended figures in Gordon’s new series of drawings and watercolors Filter Resonance B more subtly signal the body; wire-like lines protrude and drift through these organ-like forms, a reference to the potential for connectivity. Gordon imagines that the drawings represent actual filters, which isolate information, and their presentation is meant to evoke the interfaces of audio filters in music software, which allow the user to directly regulate reverb, equalization, and so on by manipulating graphic elements. Much like the show itself, these strange configurations invite reflection on the many ways the body is instrumentalized through technology.

About Control: Technology in Culture

Control: Technology in Culture, curated by Ceci Moss, Assistant Curator of Visual Arts, is YBCA’s new series of exhibitions showcasing work by emerging and mid-career artists who examine the social, cultural, and experiential implications of technology. The series seeks to prompt timely questions about the profound and far-reaching influence of technology in our daily lives by focusing on artists whose work spans a multitude of disciplines and relates to a diverse set of issues, including architecture, acoustics, psychology, labor, consumerism, the environment, and the military.

The term “control” refers to philosopher Gilles Deleuze’s theory that, as a result of the ever-increasing role of information technology, Michel Foucault’s “disciplinary society” of the 20th century has given way to a “control society” in the 21st century. In contrast to discipline, which molds the individual through confinement in factories, prisons, and schools, control is diffuse, adaptable, and ubiquitous, modulating rather than molding the individual.

Fri Jul 19, 2013 18:30 - Sun Sep 08, 2013

San Francisco, California
United States of America

Working in sculpture, game design, installation, performance, sound and the internet, Portland-based artist Brenna Murphy is interested in digital technology’s capacity to connect and expand human consciousness. For Murphy, digital tools act as an electronic prosthesis that deepens awareness and cognition, rather than as an alien entity outside human experience. The labyrinth is an ongoing theme in Murphy’s practice. Her installations, websites, and virtual environments are set up as a series of interlocking spaces that encourage wandering, displacement and discovery. Like the naturally occurring geometric forms referenced in her work, they organically branch out from each other as a dense array of unfolding structures. The title for her exhibition at YBCA, Liquid Vehicle Transmitter, alludes to the fluid property found in much of Murphy’s output.

For her new installation, emergent entity chant array, Murphy has designed a type of fractal involving self-similar patterns at varying scales. Constructed out of a precisely configured assemblage of 3D printed sculptures, LED lights, light boxes, and wood cut forms, the installation resembles a real life version of her complex and dizzying internet-based works. Like Murphy’s virtual video game environments, emergent entity chant array plays upon the visitor’s perception of both space and dimension, encouraging the exploration of elevated states of consciousness.

Deeply post-humanist in her approach, Murphy views her creative process as a form of meditation in which she seeks an intuitive, harmonious relation with the tools used to produce her work. Her intricate arrangement of forms focuses her own energy and that of the viewer, drawing them in. This sense of an attuned connection with an audience is also an active element in the art collectives of which she is a member, MSHR and Oregon Painting Society.

Fri Nov 09, 2012 18:00 - Fri Nov 09, 2012

New York, New York
United States of America

Join us on November 9th at 6PM for "Architecture and Computation" with speakers Keller Easterling (Architecture, Yale) and Erica Robles (MCC, NYU). This will be the first event in this year's PROGRAM: Media and Literature lecture series.

Architecture and Computation

19 University Place, Great Room
New York, NY 10003
Map: http://goo.gl/maps/f2ad3

http://www.programseries.com

Free and Open to the Public

"PROGRAM" is an interdisciplinary event series organized by graduate students within New York University’s Media, Culture and Communication, English, and Comparative Literature Departments. Intentionally broad in scope, the series will present talks that explore the cultural, historical, aesthetic and political impact of software and programming logic.

This first event in our year-long lecture series explores the intersection of architecture and the logic of computation. How does computation structure our physical world, and in what ways has the function of computational media been applied to the spaces we inhabit?



Keller Easterling (Yale University, Architecture)

Extrastatecraft: Global Infrastructure and Political Arts
Repeatable formulas and spatial products make most of the space in the world. Now, not only buildings but also entire cities have become spatial products that typically reproduce free zone world cities like Shenzhen or Dubai. Space has become a mobile, monetized, almost infrastructural, technology, where infrastructure is not only the urban substructure, but also the urban structure itself. Some of the most radical changes to the globalizing world are being written, not in the language of law and diplomacy, but rather in the language of this matrix space. Massive global infrastructure systems, administered by mixtures of public and private cohorts and driven by profound irrationalities, generate de facto, undeclared forms of polity faster than any even quasi-official forms of governance can legislate them—a wilder mongrel than any storied Leviathan for which we have studied political response. Infrastructure space is one crucible within which multiple fields of analysis encounter ample complexity, and it tutors special approaches to both form making and political arts.


Keller Easterling is is an architect, urbanist, writer, and Professor of Architecture at Yale University. Her latest project is titled Extrastatecraft.

Erica Robles (New York University, MCC)

Mediated Congregation: The Crystal Cathedral and God’s Place in a Networked WorldThis talk focuses on an often-overlooked institution that has helped produce and legitimate transformations in 20th century social life: the church. Through an analysis of the Crystal Cathedral Robles situates Protestant spatial production within a broader project of cultural re-formation whereby collective life became conducted via increasingly mediated, mobile, and distributed arrangements. For more than half a century, this influential Southern California ministry helped reshape the style and material conditions for worship. At its height, the Crystal Cathedral was perhaps the most visible Protestant church in the world.

Robles will render three distinctive and successive portraits of the church as a drive-in theater (1955-1957), an indoor-outdoor/television church (1962-1970), and then a globally-broadcast, glass and steel cathedral (1980 – 2012). Each site was a re-imagining of the socio-technical conditions for communion. Together, these portraits will trace a trajectory from the post-war to the present whereby the church helped determine technological and architectural meanings. By designing for mediated congregation, ministries like the Crystal Cathedral inscribed the production of broadcast and then networked geographies with spiritual significance. In so doing, they also translated Christian cosmology into a new technological regime.

Erica Robles is an Assistant Professor of Media, Culture, and Communication at New York University.


Upcoming 2012-2013 PROGRAM events

Media Archaeology with Matthew Kirschenbaum and Wendy Hui Kyong Chun, March 1st, 2013

Values in Technological Design with Geoffrey Bowker and Sara Hendren, April 12th, 2013

http://www.programseries.com/

The series is sponsored by NYU's Information Futures, the Humanities Initiative, and the Departments of Media Culture, and Communication, English, and Comparative Literature.

Fri Dec 10, 2010 00:00 - Wed Dec 08, 2010

Music, Language, Thought V

Friday, December 10th 2010 / 3:00 - 7:00pm

Myles Jackson (History and Philosophy of Science and Technology, NYU): “The Role of Physicists in Measuring and Defining Nineteenth-Century Musical Aesthetics”

Kevin Bell (English, SUNY Albany): “Non-Cognitive Aspects of the City: Sound as Break in Christopher Harris’s “Still/Here"”

Ana María Ochoa (Music, Columbia University): “Orality and Orthography in Nineteenth-Century Colombia”"

Gary Tomlinson (Music, University of Pennsylvania): “Paleolithic Formalism”

Reception to follow

http://musiclanguagethought.wordpress.com

New York University / Silver Center for Arts and Science / 100 Washington Square East / Department of Music, Rm 220, 2nd floor

Sponsored by the departments of Music and Comparative Literature; with support from the NYU Humanities Initiative

Music, Language, Thought” is an interdisciplinary event series organized by graduate students within New York University’s Music and Comparative Literature Departments. Broadly speaking, the series focuses on the relationship between music and language, and our speakers will examine its theoretical ramifications for politics, aesthetics and historiography. The project stems from ongoing conversation and collaboration between graduate students within these two departments, and will continue on an annual basis.