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.
Mobile Studios Hits the Road
Mobile Studios - A nomadic multimedia platform hits the road
From April to May 2006 the Mobile Studios travel as a nomadic multimedia platform from Belgrade to Bratislava, Budapest and Sofia, and will temporarily possess the urban spaces in these cities. With today`s opening in Belgrade, this production laboratory for young artists, performers and cultural programmers starts its adventurous journey across Southeastern Europe and the Balkans.
The three exhibition modules of the Mobile Studios are like a "no man's land," that settles into an urban context. It temporarily acts as a neutral ground which offers the opportunity for collaborations with artists, grass-roots groups and cultural institutions. The Mobile Studios function as an experimental field in which structures that do not yet exist can be tested and discussed with the public within a short period of time.
Mobile Studios: Editorial, Talk and Live Studio
This internationally networked pilot project is a mobile, autonomous laboratory for artists and cultural producers. In a subsequent programme, they will be invited to recreate the studios as directors. Mobile Studios are consisting of three corresponding units: Editorial, Talk and Live Studio.
The installations and urban interventions that take place in the Live Studio, as well as the conversations and discussions of the Talk Studios, will be transformed and broadcast in the Editorial Studio in various formats. The production and broadcast processes will be made visible at the same time.
Art contents - instantly processed and highly visible
The Editorial Studio is the largest exhibition module: Here, daily reports from the Talk and Live Studios will be editorially processed, archived and published in various multimedia formats. Comprehensive content will be transmitted to editors and media partners for further use in online editorial, web, TV and radio, press, magazines, etc.
Mobile Studios talks & wireless conferences
Interviews and discussion ...
Guthrie Lonergan
Recommended: Guthrie Lonergan's 9 Short Music Videos. Reminiscent of BEIGE's cheesy blue (green?) screen vids, each is built around some corporate sound (ringtone, Microsoft boot-up noise, DVD intro) that craps up our daily lives. Also good: Bricks Video. And a lecture "Surfing the Internet in Public." Be sure to check out Ian Haig's "Men of the Internet" while you're there. Really need to spend more time surfing. So many gems, so little time...
Strata by Jody Elff
Doing a presentation in Lyon (France) today, I encountered this interesting sound installation in a parking garage (the policy here is to put art installation in every underground parking garage, which is nice): Strata by Jody Elff
Commissioned by Lyon Parc Auto, Strata is a reactive sonic sculpture distributed throughout 6 levels of the new subterranean parking garage at the Cité Internationale complex in Lyon. The work is the result of 2 years of combined effort between Jody Elff, Lyon Parc Auto, and Art/Enterprise. Strata explores the relationships of levels, or strata of the structure itself
The work consists of 6 unique sonic 'personalities,' one for each level of the facility. A computer controls the occurrence and distribution of the sounds throughout the facility. When an observer is on a particular level of the garage, they hear only the sound of that level. However, there is a global control process in place that guarantees that all six levels are harmonically and rhythmically coherent. In addition to the control of the sounds by the computer, the sounds of vehicles themselves will be transformed and integrated into the final presentation. The result is one of a spontaneously generated composition, comprised of the individual sonic events from each floor. This combined result can be heard in the main pedestrian entrance hall of the facility.
In addition to the sonic sculpture, a visual component of the work was installed in the elevator cars. A series of patters drawn directly from the software used to create the sound sculpture was realized in a light filtering material. As your visual relationship to the elevator cars shifts, the materials change color, from amber to blue to translucent.


A Spatio-Ludic Rhetoric: Serious Pervasive Game Design for Sentient Architectures
Notes from Steffen Walz's talk at Game, Set and Match II: A Spatio-Ludic Rhetoric: Serious Pervasive Game Design for Sentient Architectures.
Dialectics of surveillance fun. [More....]
Mirror_SPACE - Brigitta Zics
Short listed for this years Europrix Top Award in Cross Media Mirror_SPACE was my personal bet to win. It didn't but I still think it was the best piece in that category, which was also the category my own project Reciprocal Space won a Top Talent Quality Seal Award in. Below are details of the Mirror_SPACE masterminded by Brigitta Zics and created with the support of Jörg Lindenmaier, Jerome Thoma and Matthias Weber.
Mirror_SPACE is a virtual mirror where users can experience their image transformed - not according to the rules of geometric optics, but filtered by a 'real time scanning apparatus'. This generates the visitor's 'mirror image' corresponding to the information supplied via its data network.
The mirror provides us with phenomenal images of our appearance according to physical laws. The mirror image is a transformed, cell-shaped manifestation of the users dynamic data. The aesthetical qualities of the objects combine a microcosmic vision of networked existence with a reduced visual component (virus/nano vision). Their virus-like nature represents a structure in which everything is interconnected. Depending on the quality of the relationship, this connectivity is visualised differently. The coloration of the creatures is an expression of their character.
Mirror_SPACE is a system of reflections of a type which involves not only optical appearances but also forces which act on us and which we cannot control affecting our phenomenal image. Visitors are invited to identify with a virtual mirror image that reflects their internal state (through mood analysis) and their external affiliations (through information streams from the internet). This new world formulates a utopian definition of identity.
The person is viewed as a node which is networked with the whole of existence. Effects which can be grasped by our perception are presented in this system as dynamic data ...
Rhizome Today: A critic, with opinions about postinternet art
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.
Breaking the Ice
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.
Conference Report: NET.ART (SECOND EPOCH)
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.
Go Ahead, Touch Her
Go Ahead, Touch Her
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.