Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

ARTBASE (7)
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BIO
Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.

Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.

Generator.x in Stavanger #2


Generator.x:  Introduction

Generator.x: Introduction

Wattenberg: Shape of Song

Wattenberg: Shape of Song

17;ve just come back from the opening of the second installation of the Generator.x show in Stavanger, an opening which must be considered a success on all counts. Not only did it get a good reception from the local audience, but the show itself looks great in the slightly raw and intimate halls of Tou Scene. But don’t take my word for it, look at the images above and below, as well as the full set of photos on Flickr.

For the opening, I gave a short introduction to generative art and design, which was followed by Trond Lossius speaking about his work with sound. He talked about generative sound being sound as a Platonic idea, with the specific incarnations being shadows of a meta-sound which is never really heard.

The exhibition was followed by a live concert with local electronica heroes QRT, HOH and NES. Gisle Frøysland did live visuals using the open source MøB software he has developed at BEK. I showed my own piece Neon Organic in a newly revamped OpenGL realtime version.

The exhibition will remain in Stavanger for a minimum 3 weeks, see the Tou Scene web site for details. I would like to thank local organizers at Tou, Nils Henrik Asheim and Alain Fassotte, for their support and quick turnaround in organizing an excellent opening event. Thanks also to Espen Tversland, the museum host for the National Museum who will follow the exhibition around Norway.

More photos to follow, including videos of the projected pieces and the concert.

C.E.B. Reas: Process 8

C.E.B. Reas: Process 8

QRT live with Frøysland on visuals

QRT live with Frøysland on visuals

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at interval, 1977 / 2006


Spent most of the weekend working on a new video piece for the t-minus 2006 festival, an exhibition and DVD produced by Joshua Goldberg and Chris Jordan, New York City. It’s likely to be the first in a small series of "lapses," which play with time and language, by compressing popular films into a different space of relation:

< video still from at interval
video still from at interval< />

For at interval, I captured the entirety of Woody Allen’s Annie Hall, then removed all spoken dialogue from the film. Time is slowed down, through emphasis on breathing, silence, mistakes, facial expressions and music between the text, and paradoxically sped up, through an immense shortening of the film - from one hour and thirty minutes, to just over thirteen. at interval compresses the movie by removing Allen’s characters’ lapses in judgment, and instead plays with time to accent similar impossibilities within language.

play movie
quicktime and javascript required; 11.7MB pop-up window, 13:22

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Google Earth... back in the '90s


In 1994, ART+COM presented Terravision, an installation that enabled users to navigate in a 3D model of the earth by moving a tracking device in front of the projection showing the actual location and environment s/he is in.

bildterrav.jpg med_03_terrav.jpg
Image on the right: Visualization of danger-zones for earthquakes

The virtual globe is generated from satellite images and altitude data stored on servers located around the world, integrated into a television system by an ATM broadband network. Information can be accessed topographically and chronologically: a user can see weather patterns or zoom in on, say, the Potzdammer Platz in Berlin and use a camera icon (placed at the actual location of the original camera) to view a film of it made in 1929.

Terravision was conceived as a tool to generate knowledge about the condition and future development of our planet.

The display and the resolution were only limited by the quality of the satellite aerial images of the corresponding location.

John has just sent out via bittorrent the original video from 1995.

More images and videos on art+com website and on Media Art Net.

Other works by art+com: the Science of Aliens, timetravel telescope, Floating Numbers table.

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Index for X: An Experiment in Mass Collaboration



I was lucky enough to be asked to build a piece for the Winter issue of Born Magazine. The poem, Index for X and the Origin of Fires is a truly beautiful work by Ander Monson.

What I wanted to avoid in this project was forcing the reader into one particular interpretation of the poem. I think the beauty of verse lies in its ability to speak in different ways to different readers.

With that in mind, I built a semi-intelligent engine for this project that interprets the poem by accessing the massive database of images that is Flickr. Images are gathered for each line of the poem, and are displayed semi-randomly, appearing just long enough to register and then fading again into the background. As the viewer progresses through the poem, a collage of images is present in their memory - enough, along with the poem itself to build a unique interpretation of the work.

This 'collective interpretation' changes in two ways: First, because Flickr is constantly being updated and because the engine is stochastic, you will never see the same set of images twice. Second, because Flickr users can tag images with the word 'indexx' to have them appear more often in the project, the generated compositions will (hopefully) become more focused over time.

So, go and check it out.

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Chicken Soup for the Viewer



In the last decade, a series of books of the 'Chicken Soup for the Soul' ilk have dominated the self-help market, a sphere with a rhetoric that all too rarely finds itself quoted in the art world. Enter Jacob Ciocci, the Pittsburgh-based artist best known as one-third of the Paper Rad collective. His installation at New York's newly-supersized Foxy Production gallery welcomes visitors with the phrase 'How to Beat Loneliness,' and the show is positioned as Level Zero in the video game of life. 'Inspiration Superhighway,' open through February 4th, is Ciocci's first solo show and it features multi-channel video installations, sculptures, and drawings whose characters 'seek meaning from cultural chaos.' Like his collaborative work, the new projects evoke the sensory overload that results from coming of age in a media saturated culture. Taking on the trope of a little boy's bedroom, the show erects shrines to the Saturday morning deities and Top 40 superstars that populate our transmitted landscape. On the one hand, visitors can identify with a feeling of entrapped isolation. Then again, entering a space created by Ciocci always feels like climbing through a magic rabbit hole into a world illuminated by animated gifs, beautiful colors, and complexly compelling softness. Taking in the artist's remix of 'Don't Worry, Be Happy,' it would be an understatement to say that his work feels good. - Marisa Olson

http://www.foxyproduction.com/exhibition/view/312

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DISCUSSION

Rhizome Today: A critic, with opinions about postinternet art


Great post, Michael! What an exciting (if facebook-thread-dramatic!) couple weeks for Postinternet discussion. I appreciate your breakdown of these three (obviously not mutually exclusive) approaches. To my mind, the results of approach #1 have only had fickle results. i.e. Ed, I actually talked about Postinternet Art before I read the "internet aware" comment from Guthrie--I believe first on a Rhizome panel Michael was on at EAI--but then again, Guth & I used to gchat every day then, as we were just about to start Nasty Nets when I brought it up. But moreover, as I recently posted in an FB thread, I truly believe there was a zeitgeist around recognizing these ideas (and using whatever word or phrase to do so; not just postinternet) in 2005-2006, as expressed in writings and talks by Lev Manovich, Steve Dietz, Sarah Cook, Josephine Berry Slater, Jon Ippolito, myself & Guthrie, etc.. (Christiane Paul touched on this in her responses to Karen Archey's Ullens questionnaire.) I don't think it's productive to construct/dismantle/bash origin myths, if only because it's led to a rash of ad hominem attacks on a number of artists & writers lately, completely sacrificing the point of critical writing.

My own effort in talking about Postinternet, at least in those early instances, as on the panel, was to (a) expand Rhizome's mission--I was then Editor & Curator--to cover and support a wider variety of practices; and (b) just to describe my own work and how a project like my Monitor Tracings (totally "offline" drawings) could be contextualized as internet art, or art 'after' the internet (i.e. In the style of & made after I log-off.) I think Michael puts it *perfectly* when he says, "we should understand all our gestures, 'online' and 'offline,' as actions in a network that is mediated and administered by computers." Perhaps this is obvious, but I'd say this applies to all of waking life, not just art production+reception.

I've personally moved from discussing Postinternet Art as "art after the internet" toward discussing Postinternet as "the symptoms of network culture." I am less interested in discussing PI Art specifically/exclusively, now that people have brow-beaten and/or branded the term into something far different than what I originally meant, and much more interested in discussing the social affects around the production of postinternet conditions and their manifestations. And, meanwhile, I have said (particularly in the Ullens catalogue & also in an interview in the Art and the Internet book put out by Black Dog) that, to me, Postinternet is just a 'placeholder' term around which to convene in having conversations around the latter symptoms. (I've started working on spelling these out more explicitly in recent & forthcoming writing-- including the keynote lecture I just gave at Pratt's UPLOAD conference, entitled "Postinternet is Dead. Long Live Postinternet.")

Likes/Dislikes around the word, aside, I hope this very long-running conversation around art and the internet can continue to incorporate careful consideration of the affects of network culture, as networks themselves evolve.


DISCUSSION

Breaking the Ice


Hi, everyone! Wow, I've got to say, it's nice to see some familiar names here! Michael, Congratulations on your new job. As someone who held that same title (and various permutations of it) for several years, I know you are in for a heavy load and I also know that you are also more than up to the task.

Like most of the folks above, I too am a "forever member," from the days of the Rhizome Communications ascii RAW listserv and, later, fancy Dreamweaver/Flash "Splash Pages," to the present. Reena Jana and I were the first two paid writers (poached from Wired!), when Alex Galloway was running "content," which at that time meant programming and editorial--though Rhizome was declaratively non-editorial, so they just commissioned book & exhibition reviews, and some interviews from us that were fed into the RAW stream and included in the Digest as Features. Oy vey, I can still remember the cross-eyed weekly ritual of trying to untangle parallel conversations to reassemble them into a coherent thread for the Digest, when I was editing it--and the race to get it out by noon one day each week!!

I've seen Rhizome go through so many changes, and I've been a part of the back channel conversations on years of them, including huge ones that we decided not to go through with. I have to say that it's always hard to serve a membership-based organization, which is what Rhizome has always thought of itself as. But I can say that every change in content or form has been discussed critically, at length, and typically not without a degree of passion.

I am also biting my tongue because I *really* do not want to put words in any staff member's mouth (past or present), but I can say that I believe everyone who's ever worked there has taken their position as a labor of love, with users/reader/members/community (everyone has their favorite self-identification; semantics trolls please don't hate today!) in mind, and everyone has collaborated with the staff to bring a unique take on how best to serve you in the current creative and technological climate. For instance, I remember that my big objective coming in the door was wanting to change the mission statement to reflect not only net art and not only highly technological art, but also art that "reflects" on technology in a meaningful way. In fact, I think contemplating this change was very much a part of my conceptualizing Postinternet.

There is so much to say here, but I think I'd best sign off. This is not my soap box, and in some way, it feels weird to comment so much. I used to be a Superusing Megaposter, but as soon as I became Editor & Curator, I stepped back to focus on trying to facilitate and amplify other voices, which I do believe every Rhizome Editor has done in their own way.

I'll end with this, then. I'd be surprised if every reader, writer, or editor loved everything that ever appeared (structurally or content-wise) in their newspaper of choice. I'd be surprised if every curator or museumgoer loved every artwork shown (or every exhibition design decision) in their favorite museum. But it's the day we stop reading, stop going to look at art that disappoints me. It's the day Rhizome stops experimenting that scares me. And I wish them well on this new experiment.

DISCUSSION

Conference Report: NET.ART (SECOND EPOCH)


Hi, Josephine.

Thank you for these points of clarification. I actually tried to convey (and forgive me if I failed) that your presentation was unique in identifying multiple generations of networked artists, and I particularly liked the way you talked about artists working before the internet in ways that anticipated network culture.

You also made that great point (via Hal Foster) about the ways in which critics' work is influenced by what is/ was happening at the moment they entered the art world. I admire how you helped pioneer new media criticism and yet have continued to stay on the pulse of new work. This is what I had in mind when recalling your point about your relationship to a previous generation of net-dot-artists, versus the artists of the era Inclusiva was calling the "second epoch." I just really liked the way you fleshed out more than two epochs and I wanted to highlight your catalyzing role in the net-dot-art scene, in particular.

In my own presentation, my intent absolutely was not to dismiss any previous artists, movements, practices, etc. It was simply to flesh-out one niche of new media art practice. In fact, I really liked the pointed questions that the audience asked afterwards, because it helped us have a really meaningful discussion about the problematic relationship of pro surfer work to art historical discourse, and my calls to action revolved around getting those artists to participate in learning about their own pre-histories and writing historiographies that situate their own trajectories on their own terms.

So I don't think we're in disagreement. But I appreciate your call to fine-tune my articulation of these scenarios.

DISCUSSION

Go Ahead, Touch Her


Why are vocal remixes different than video? This is a very interesting distinction. Can you please say more about this and why one is ok and one isn't, beyond the rubric of industry standards? I think that remix and parody have the potential to be very useful and viable political tools. The best-known examples of such efforts would be the work of the Yes Men, but examples of parasitic media within the field abound. In your comments (i.e. "Here it seems the remix does imply ridicule") it seems as if you think that remixing automatically equals mockery but I don't agree and don't see that implied in the project. Laric's video simply shows us (or arguably amplifies) what's already there and gives both fans and critics a chance to say what they will. This is the pact that all artists make with their audience when they release their work into the world--that people will interpret it as they will, whether that means reading it a certain way, hearing it a certain way, or incorporating it into their lives in a certain way. This is how the popular preconscious works. I don't think it's fair to call this project a senseless derision of Carey, but I do still think that your vehement apprehension towards remixes says something interesting about the ways that certain corners of the cultural community (particularly academia) perceive the effects of these acts. I just think they need fleshing-out. There is a big difference between real violence towards women and perceived theoretical misdeeds towards a celebrity's highly-guarded public image. If this is the true issue, I think our energies are best directed toward prevention of the former rather than scandalizing the latter.

DISCUSSION

Go Ahead, Touch Her


Hi, Brittany.

I'm sorry that you found my article objectionable. I didn't intend to make the implications you suggest, but I believe your response cuts to the most interesting aspect of Laric's piece, which is the effect of remixing.

For those who care to review the lyrics to this song, they are here:
http://www.azlyrics.com/lyrics/mariahcarey/touchmybody.html

They include the refrain:

Touch my body
Put me on the floor
Wrestle me around
Play with me some more
Touch my body
Throw me on the bed


So, in fact, I do think that Carey's lyrics (and video) invite sexual fantasy, but my article doesn't say that she is asking to be violated, it says that she's asking to be remixed. Of course, the slippage between the two that you identify is what's so interesting.

In an interview with Laric, he told me that he noticed that the video takes-on an increased sexual tone when all but Carey is masked out. He was interested in how this first-person invitation to "touch my body" could be construed as an invitation to remix the visage of her body (and/or the voice emitted from it), particularly given (a) the implicit link to digital culture embodied by both the lyrics and video, and (b) the fact that the remix is now such an important part of the media ecology of pop culture.

In the last 25+ years of pop music, lining-up celebrity remixes and making singles remix-ready has been an important part of the production cycle, often preceding the release of the original recording. Almost all historical accounts of Madonna's rise to fame cite her relationship with DJs and openness to remixing as a key factor in her success. So while you may see the remix as a violent act, clearly those participating in this industry see it as an imperative.

Discussions of why a remix is or isn't violent are interesting, as they get to questions of the status of the digital reproduction. Are we remixing a person or "just" her image, and what's the difference when thinking about how a person's identity--particularly a famous person's identity--hinges upon their image? Carey's image was already manipulated before it came to us. In the interview with Laric, he pointed to a segment in the original video in which the shape of a cup becomes distorted as a result of distorting the footage to make the singer standing behind the cup appear slimmer. So this is already not her. If you listen closely, I believe there is also a question as to whether all of the voiced parts of the song are her, so the audio issue adds another layer to the phenomenological question of the brute force of the remix.

These issues of the import of the remix, the relationship to broader pop culture (rather than an insular art world), collective authorship, and the nature of Carey's invitation are what I hoped to address in this article.