Paul Virilio Symposium October 24 & 25- City Lights and SFAI organize a symposium on Paul Virilio's work this weekend.

Universal Archive. The Condition of the Document and the Modern Photographic Utopia at MACBA- Exhibition opening this week at MACBA, "brings together almost 2,000 documents, notable among which are the nearly 1,000 vintage photographs and copies, dating from 1851 to the present time...Going beyond the presentation of a single, linear narration through the history of photography, the display offers an entire constellation of narratives on the genealogy of the document: the historic photographic missions, the reformist document, the workers' photography movement, exhibitions, advertising, projects based around ethnography and the documentation of cities, and so on."

Interface as Landscape- Greg J. Smith from Serial Consign discusses electronic writing and the work TEXTile by Jean Shin.

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The online exhibition space Club Internet opened its fifth show "Free Fall" earlier this month with a party at Mediamatic in Amsterdam. I interviewed artist and founder Harm van den Dorpel about Club Internet and the current exhibition, which will remain up until November 15th. - Ceci Moss

How did Club Internet begin?

It started by buying the domain name www.clubinternet.org -- I eventually wanted to make money with it because Club Internet is a major telecom provider in France. But then I started playing with it and put a script online that enabled people to upload images. I got intrigued by the idea of forming a group of people like in a surfing club, with an exclusive and mysterious character found in societies like the Freemasons. Following that model, Club Internet is a society with membership, as well as being an online gallery.

Image: Jesper Carlsen, Squirrels, 2006 (Still)

The title for the latest Club Internet exhibition is "Free Fall." What is the concept behind this title?

Works for Club Internet are chosen because they are best viewed online, rather than making a transformation from the screen to a video projector in a gallery. Television programs are best viewed at home, and not in a cinema, I believe the same often applies to Internet art.

The previous shows sometimes dealt with the subculture of internet artists or were referring to some (technical) knowledge usually available only to the more Internet aware visitors. These were valid and interesting prerequisites, often found in clubs, but I wanted this new show to curate works that required no particular interest or knowledge about the technology behind the Net nor infrastructure of the online art world. This show was also the first with an 'official' opening event in a physical space, bringing the online ...

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A perfect thesis for Olaf Breuning's current exhibition at Metro Pictures greets one at the gallery's entrance: several vinyl versions of the artist's name, in different fonts, have been crossed out and appended with the statement, "...at least I tried."  The failure to achieve a perfect consonance of authorial name and aesthetic, and the pathetic comedy played out in the multiplication and dismissal of alternatives, carries throughout the exhibition's various bodies of work, which collectively offer a veritable symptomatology of cultural consumption in the networked age. Six white, ceramic busts form vaguely biomorphic bases for "heads" like The Big Challenge (all works 2008), a scale balancing a bucket of plastic boobs and a stack of books, and the Koonsian collection of primary color PVC gloves that comprise the visage of Bird Dog. Giant C-prints alternate between irreverent portraits, like that of a man balancing tiers of filled shot glasses with hands, feet, and nose (Impossible Balance Act), and performative and digital interventions into landscapes. Dozens of smoke bombs yield a painterly action, in Smoke Bombs, while Fire and Why Can't You Not Be Nice With Nature? foreground global concerns, the former depicting a NYC street scene overlaid with hundreds of digitized fire effects, and the latter a bucolic landscape interrupted by an airborne flock of birds, arranged into the letters of the image's title. Over forty of the artist's "Adderall Series" drawings fill every conceivable bit of remaining wall space, frequently jabbing at history and politics with a comparably dumb and unsettling humor to that of the photographs. An oil well sprouts and spouts from a head (More Oil More Oil), or the Chinese Wall surrounds a tiny White House (Chinese Wall), and we chuckle, partly to mask our unease. - Tyler Coburn

Image ...

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La Superette 2008- Open call for this year's La Superette, deadline is November 11th. "La Superette is an annual event, an art sale held in early December to coincide with the holiday season. We organize a temporary store where artists sell functional art in multiples at affordable prices. In addition to the sale, musical performances and video screenings run throughout the day, adding to the festive atmosphere."

Send + Receive: A Festival of Sound- "Send + Receive: A Festival of Sound will celebrate its tenth anniversary from October 16-25, 2008. For the past ten years, Send + Receive has produced one of the few annual media arts festivals in North America focusing exclusively on sound-based work. It has become an invaluable opportunity for showcasing the innovative work of Manitoban, Canadian and international artists, offering a rare critical platform for audio and media art."

Jimmy Baker, Civil Dusk, Foxy Production, New York City- "Civil Dusk, Jimmy Baker's second solo exhibition at Foxy Production, introduces a new series of intense and moody oil and resin paintings. In Civil Dusk -- the period after the sun has edged below the horizon and objects are still distinguishable -- Baker uses cloaks of fog, smoke, or dust, and disorienting inversions and combinations to make the known feel uncanny. Baker explores American landscape painting's myths of expansion and freedom, and its conjuring of sentiment and the sublime. He relates its strategies to those of the contemporary media, refracting scenes gleaned from television and the Internet through the lens of Romanticism. His new paintings exhibit a dramatic high gloss sheen that is at once seductive and distancing: they act as both screens and mirrors."

Maker Faire Austin- Make Magazine's annual festival, Maker Faire, in Austin this weekend. Hacking, sewing, robots, fire, the gamut!

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For "Monitor," at New York's Claire Oliver, Brooklyn-based artist Noah Fischer produces a refreshingly rough-hewn body of sculptures that reflect the variegated meaning of his titular product. The monitor here operates at the threshold of objecthood, given both that "we gaze into its pixilated illusion, never directly at its shape and mass" and because the pace of technological development and consumption finds each new screen soon devolving into "e-waste." Boxy, beige monitors congregate in the aptly titled sculpture, Trash Pile, and are shown discarded on sidewalks in some of the black-and-white print-outs comprising wall sculpture Map Installation. Fischer finds a resurgence of Modernist aesthetics in subsequent generations of product design, most notably in those of Apple's laptops and iPhone. With their Judd-esque manufacture and seemingly infinite functions, they market a "sublime promise" all but removed from their production history, as well as from the "global trash cycle." In general, Fischer's sculptures ably marry the tenants of display and the realities of consumption. The crudely painted, triangular shelving of Family Portrait and New Codes could be the unwashed brethren of Steinbach's, the former topped with two wood shells of the new Mac PowerBook. An actual, grandfatherly PowerBook 180 has carved out a seat from one of them, while the translucent screens of an adjacent coterie handheld units glow from beneath. Perfect Lantern makes the reference explicit, as a strip of recessed lighting fills a wood PowerBook's translucent screen, and thus economically stages the condition of immateriality that gives the monitor its unstable nature. - Tyler Coburn

Image: Noah Fischer, Family Portrait, 2008

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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.