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

ARTBASE (7)
PORTFOLIO (3)
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.

tesla Berlin - center for media arts


tesla, a great space in the Berlin mitte, right across from Alexander Platz, is dedicated to the production and exhibition of new works encompassing installation, performance, sound and radio works.

Artists are given studio residencies and plenty of support to produce new works. As the directors of tesla, carsten seiffarth, detlev cutters, and andreas broeckmann, describe the art center:

"tesla is of Berlin laboratory for media arts; for the investigation of the relationship between art and science, old and new, analog and digital media; for open and process oriented artistic and technological research; for the dialogue with current form artistic practice; for the development of co-operation and networks" -

Currently tesla is in collaboration with the festival sonambiente Berlin2006 in presenting new audio and visual works and giving sonambiente artists, like myself a studio for production. Here are a few images taken at last Wednesday's opening at tesla:

pook_clauss.jpg



réactions épidermiques by lynn pook + julien clauss

Participants lay in these hammocks that have various points of stimulation - at the hands, feet, heart and ears sound and some sort of mechanical devices embedded in pillows titillate and relax the participant.


edwin1.jpg

edwin2.jpg


pneumatic sound field by edwin van der heide

Embedded in a large steel grid that is permanently part of tesla's courtyard is Edwin Van der Heide's sound installation. The sound is created from air shot through valves. The valves are mechanized and digitally controlled to play compositions. At first the compressed air instrument is relaxing, but over time becomes abrasive as one stands below or near the pneumatic sound field.


systemdesign1.jpg

systemdesign2.jpg

The wooden knob to the right is for the volume and red and green buttons are on/off - simple and elegant.

In the main lobby near the entrance of tesla is a work by graphic design students of ...

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Marshall McLuhan


    <p><img alt="tomorrow.jpg" src="http://www.turbulence.org/blog/images/tomorrow.jpg" width="99" height="100" border="0" style="float: left; margin: 0px 5px 5px 0px";><h4>tomorrow is our permanent address...</h4><p></p>

...McLuhan claimed some decades ago but nowadays we are simply already immersed and embedded ..Arthur C. Kroker (editor of ctheory) states that we live in the electronic culture that he (McLuhan) prophesied. And since he wrote about it, technology has become more pervasive, but silent. It's invisible. An elder article (written 2005 to remind McLuhan's actuality 25 year after his death) gives..(an) overview on McLuhan's opinions and as well both the enthusiasm and critique his thoughts evoked.

"For the first time, the central nervous system has been 'exteriorized," says Kroker, U Vic's Canada Research Chair in technology, culture and theory. "It is our plight to be processed through the technological simulacrum" in a "technostructure" which is nothing but a vast simulation and amplification of the bodily senses." McLuhan's early (1960s) wake-up call about the extent to which people's very identities are determined by the tools that they themselves invent can be listened to via these two links of the old recordings.

The Medium is the Massage; with Marshall McLuhan.
Long-Playing Record 1968.
Produced by John Simon.
Conceived and co-ordinated by Jerome Agel. Written by Marshall McLuhan, Quentin Fiore, and Jerome Agel.
Columbia CS 9501, CL2701.

[posted on mind the_GAP*]

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Paul Chan, Embedded (ArtForum)


1149175855artforum 
cover : Paul Chan

via e-flux:
    This summer in Artforum:

Embedded in the Culture. Artforum senior editor Scott Rothkopf looks at the multifarious endeavors of artist Paul Chan, discussing work ranging from the artist's large-scale, Godot-like digital projections (sampling Goya, Pasolini, and Biggie Smalls) to his recent video of convicted civil rights lawyer Lynne Stewart -- a portrait in which legal discourse is interlaced with the ethics and emotional impact of poetry.

In Chan's practice, a pop aesthetic at once winsome and brutal is brought to bear on the peculiar urgencies of our time. The point, then, is not to delimit the aesthetic and the political but rather to relish the productive possibilities of their mutual contamination.
-- Scott Rothkopf on Paul Chan

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Bird's Eye View of London



The common phrase 'bird's eye view' generally assumes that the power of birds to surveil a wide plane endows winged creatures with a greater, more perfect picture of a place, and perhaps even its people. More recently, birds have participated in surveillance infrastructures through their hosting of RFID chips. Artists Marcus Kirsch and Jussi Ängeslevä argue that pigeons have 'become maverick messengers in the information super-highway, fusing feral and digital networks,' and they take advantage of this scenario in their project, Urban Eyes. This multimedia work 'uses wireless technology, birdseeds, and city pigeons to reconnect urban dwellers with their surroundings.' When tagged birds, in London, land on feeding platforms, aerial images of their location are sent to nearby bluetooth devices. By tracing the travels of pigeons, which are quite complexly patterned despite being confined to within one mile of their nests, the artists remind Londoners of the significance of their underappreciated neighbors and suggest that their social lives can tell us something about our own models of interaction and mobility. Through July 9th, the House of Technologically Termed Practice (HTTP Gallery) will exhibit live and archived documentation of the project. - Marisa Olson

http://www.http.uk.net/docs/exhib10/exhibitions10.htm

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Changing interiors


Alexander Wiethoff's Colour Vision, installed at the Museum of Perception, in Rohrbach (Austria), allows the visitor to change the room colour with the position of his body. Each posture symbolizes a different status like activity, calmness, reflectiveness and is visualized by different colours.

The installation made me think of Will Pappenheimer's Public Mood: Light Temperature. When installed at ZeroOne San Jose, the system will allow Internet users to change the light temperature of the cafe space. The artwork is inspired by the mood ring, which displays the emotional condition of its wearer as color hue. In this case it is a public issue which must be chosen by the Internet participant and then translated into color temperature for the cafe space. The accompanying website will present a simple question about a current public issue. Once web users have submitted their answer to the question, a search engine will retrieve key words from a Google NEWS search associated with the public issue "mood." The user then chooses a cultural color model, which aligns the chosen color with the public issue "mood." This color is then translated to a server in the cafen space, which translates the designated color to a DMX controlled system of LED lights projected on the ceiling. When online users are not engaged in mood selections, the system will automatically search the web for public issue "moods" to change the colorcast.

The installations transform the directives of surveillance, home automation and open-sourced Internet applications into possibilities for network participation in architectural mood.

But let's get back to Colour Vision, the installation raised my curiosity and as i couldn't find much information about it on the website, i asked Alexander Wiethoff, a German interaction designer currently based in Italy to give me more details about ...

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Discussions (281) Opportunities (10) Events (4) Jobs (0)
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.