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DISCUSSION
Posted on Tue Feb 14, 2006

## UPGRADE! BOSTON: MARISA S. OLSON

UPGRADE! BOSTON: FEBRUARY 24, 2006
< MARISA S. OLSON >
http://www.turbulence.org/upgrade/archives/02_06MSO.html
Marisa S. Olson is a San Francisco-based artist and is Editor & Curator at
Large of Rhizome.org. She has most recently performed or exhibited at the
Whitney Museum of American Art, the New Museum of Contemporary Art, the
Berkeley Art Museum/Pacific Film Archive, New Langton Arts, Southern
Exposure, Pond, Foxy Productions, Debs & Co, and the international
Futuresonic, Electrofringe, Machinista, and VIPER festivals. While Wired has
called her both funny *and* humorous, the New York Times has called her
"anything but stupid."
When: February 24, 7:00-9:00 p.m.
Where: Art Interactive, 130 Bishop Allen Drive, at the corner of Prospect
Street, Cambridge
<< COMING UP SOON! >>
BROOKE A. KNIGHT
http://www.turbulence.org/upgrade/archives/03_06BK.html
March 2, 2006
<<< COMPETITION DEADLINE: FEBRUARY 28, 2006 >>>
http://www.turbulence.org/ne2/guidelines.html
The deadline for Turbulence's "NE II: Net Art and Hybrid Networked Art
Competition" is rapidly approaching.
If you no longer wish to receive these notices, please reply to this email
with "UNSUBSCRIBE" in the subject line.
Jo-Anne Green, Co-Director
New Radio and Performing Arts, Inc.: http://new-radio.org
New York: 917.548.7780 . Boston: 617.522.3856
Turbulence: http://turbulence.org
New American Radio: http://somewhere.org
Networked_Performance Blog: http://turbulence.org/blog
Upgrade! Boston: http://turbulence.org/upgrade

DISCUSSION
Posted on Tue Feb 07, 2006

## Re: Re: isabelle dinoire

Two human faces, side by side, stretched taught as a drum, manipulated and toyed with (much like a cat toys with a mouse before he kills it). As if this is not monstrous enough, Linkoln has cut her vocal chords, silenced her, period.
Truth?
The artist’s?
The subject’s?
Mine?
Jo
annie abrahams wrote:
> I just watched the video again
>
> What I saw yesterday on the television, was more scary, more exciting
> and more confusing. ( and I would like to add : also more interesting
> and even more artistic )
>
> In my opinion the remixing didn't bring around an extra that might
> justify the use of the image of a person with a handicap without her
> conscent.
>
> I don't think the metaphor of remixing a face is chosen quit well.
> Isabelles face was repaired. Remixing a face would have been served
> better with Orlan as the subject.
>
> bye
> Annie
>
>
>
>
>
>
>
>
>
>
> On 2/7/06, Marisa Olson <marisa@rhizome.org> wrote:
> > I fully understand where you are coming from in saying that Linkoln
> might
> > have "made a cartoon out of an act of courage," but this piece
> doesn't
> > read to me as someone "just making fun"--except perhaps in the sense
> that
> > it employs many techniques that are common to his work and which
> are, in
> > themselves, often "fun."
> >
> > To put it very crudely, we are talking about an act of remixing a
> face.
> > Given Linkoln's body of work, it's interesting to juxtapose tissue
> > sampling and the sampling of media. It's not my role to overstate or
> > impose such an "intention" upon this work, but I think it can
> definitely
> > be read in that way.
> >
> > I honestly see nothing immoral about this video. That's obviously
> just one
> > person's subjective response, but it's one informed by another
> subjective
> > response to the mainstream discourse surrounding face transplants.
> The
> > subject is scary, exciting, and confusing. I think Linkoln is part
> of a
> > generation of artists who make remixes to make sense of things in a
> media
> > saturated culture.
> >
> > And it just so happens that this all occurs in a time of intense
> policy
> > debate about both cloning and copyright.
> >
> > > it's impossible to tell the truth.
> > > this is not about truth or falsity
> >
> > I agree with you here, Annie.
> >
> > This video reads, to me, like an animation of the "techniques of the
> > observer," as Jonathan Crary famously put it. Observation, itself,
> is a
> > complex operation...
> >
> > Meanwhile, it's interesting to observe the response to this work.
> Dare I
> > ask in what way "the images on the t鬩 were a lot more
> impressive," and
> > how they were any more "moral" than Linkoln's video? Is this your
> > sentiment about the footage?
> >
> > I have to say that I personally find some of the pithy headlines and
> media
> > treatment of this story to be more outrageous...
> >
> > Anyway, I think this is an important conversation with implications
> far
> > broader than the reception of Linkoln's video.
> >
> > Marisa
> >
> >
> >
> >
> > On 2/7/06, aabrahams <aabrahams@bram.org> wrote:
> > > This is what I wrote to Abe this morning :
> > >
> > > > "I do appreciate your work a lot, but this time I don't
> understand you.
> > > > For me the images on the t鬩 were a lot more impressive.
> > > > you made a cartoon out of an act of courage. (even when
> certainly
> > > > inspired/obliged by for-fame-looking surgeons)
> > > > and you didn't denounce anything
> > > >
> > > > you were
> > > > just making fun?
> > > >
> > > > did I miss something?
> > > >
> > > > best Annie Abrahams"
> > > >
> > >
> > >
> > > it's impossible to tell the truth.
> > > this is not about truth or falsity
> > >
> > > maybe about morals?
> > >
> > >
> > >
> > >
> > > On 2/7/06, Marisa Olson <marisa@rhizome.org> wrote:
> > > > > > http://dvblog.org/isabelle-dinoire
> > > >
> > > > > The music is great & the creation of a kind of 'arc of
> > > > > suspense', of crafting an implied narrative out of the
> > > > > source material is done with consummate skill.
> > > >
> > > > I agree. It was very engaging.
> > > >
> > > > > I can't help feeling that this piece, effective as it
> > > > > is (& perhaps precisely because of this) somehow fails
> > > > > in an artistically and ethically problematic way to
> > > > > *tell the truth*...
> > > >
> > > > I find this to be an interesting point. Some questions...
> > > >
> > > > *Why is it artistically important to tell the truth?
> > > > *Why is it ethically important to tell the truth in a work of
> art?
> > > > *How does this piece fail to tell the truth, in your opinion?
> > > > *[How] does it lie?
> > > > *Is this simply a question of humane reference to human subjects
> or some
> > > > larger point about the responsibility of art? (all art?)
> > > > *Is this an expectation imposed on a work of art because of its
> use of
> > > > "documentary" material?
> > > > *Is the "reality" of the source material, itself, not true
> enough?
> > > > *Or do you find this to be some sort of "double positive" (ie
> true
> > footage
> > > > plus true footage equals falsity..)?
> > > > *Without implying that this piece tries to do so, but just
> jumping to the
> > > > larger question, is it "artistically and ethically problematic"
> to draw
> > > > from verite to escape from and/or parody reality?
> > > >
> > > > Sorry--I had to use at least one French word in this post. :)
> > > >
> > > > Marisa
> > > >
> > > >
> > > > On 2/7/06, Michael Szpakowski <szpako@yahoo.com> wrote:
> > > > > This is as well made as one would expect it to be.
> > > > > The music is great & the creation of a kind of 'arc of
> > > > > suspense', of crafting an implied narrative out of the
> > > > > source material is done with consummate skill.
> > > > > Why then do I feel so uncomfortable with it?
> > > > > I think because it seems to impose a narrative from
> > > > > particular fictional genres, horror, SF ( & here I
> > > > > call as my witness the music, accomplished as it is,
> > > > > and the synching of the final frames to the music, the
> > > > > convulsive quality of it - & I don't think I am simply
> > > > > projecting any personal squeamishness here) onto a
> > > > > current event,the story of which moreover, even
> > > > > allowing for the hype & distortion endemic to our
> > > > > media, is clearly a complex web of tragedy,
> > > > > resourcefulness, gratitude, ( oh -& a deep
> > > > > strangeness, I don't deny)..
> > > > > I can't help feeling that this piece, effective as it
> > > > > is (& perhaps precisely because of this) somehow fails
> > > > > in an artistically and ethically problematic way to
> > > > > *tell the truth*...
> > > > > michael
> > > > >
> > > > > --- abe linkoln <abe@linkoln.net> wrote:
> > > > >
> > > > > > http://dvblog.org/isabelle-dinoire
>

DISCUSSION
Posted on Mon Feb 06, 2006

## FP3, Panel 1: Responsive Environments and Systems

Floating Points 3: Ubiquitous Computing
Panel 1: Responsive Environments and Systems
DATE: February 8th, 7:00 p.m.
PLACE: Emerson College, Bill Bordy Theatre, 216 Tremont Street, Boston, and
LIVE ONLINE at http://institute.emerson.edu/floatingpoints/06/index.php
Panelists: Mark Goulthorpe, Susan Kozel and Chris Salter
Moderator: Helen Thorington
Co-presented by Emerson College and Turbulence.org
Emerson College and New Radio and Performing Arts, Inc./Turbulence.org
announce a new speaker series, "Floating Points 3" [FP3] that will address
the subject of "Ubiquitous Computing" or "Ubicomp", where computing and
wireless capabilities are so integrated into the fabric of everyday life
(clothing, cars, homes, and offices) that the technologies recede into the
background and become indistinguishable from everyday activities. [more at
http://institute.emerson.edu/floatingpoints/06/index.php]
Mark Goulthorpe: In 1991, architect Mark Goulthorpe established the dECOi
atelier to undertake a series of largely theoretical architectural
competitions. Today, dECOi is an established architectural/design practice
that takes a fresh, exploratory approach to design. Goulthorpe will discuss
his interactive "Aegis Hyposurface" which dynamically mediates events
happening inside and outside of buildings. Goulthorpe currently divides his
time between the School of Architecture and the Media Lab at MIT.
http://architecture.mit.edu/people/bg/cvgoulth.html
Susan Kozel is a dancer, choreographer, writer and Associate Professor at
the School of Interactive Arts and Technology (SIAT) at Simon Fraser
University in Canada. Kozel has a PhD in Philosophy and is co-founder of
Mesh Performance Practices. Her research combines a broad range of
interactive and responsive systems with performative practices (telematics,
motion capture, sensing, wearables). All of her work is about exploring and
expanding our physical and creative interface with technology. She will
discuss her current project "other stories" which utilizes the Vicon motion
capture system. http://www.meshperformance.org/
Chris Salter is a media artist, director and composer based in Montreal,
Canada and Berlin, Germany. He develops and produces large-scale,
multi-media and interactive environments that merge space, vision and sound.
These environments respond in complex and subtle ways to audience presence
and activities. He is also a professor in the Design and Computation
Department at Concordia University. He will discuss his large scale
installation "Suspension/Threshold." http://www.sponge.org/
Helen Thorington is co-director of Turbulence.org
Floating Points is co-presented by Emerson College and New Radio and
Performing Arts, Inc. (NRPA), a not-for-profit media organization with
offices in Boston and New York. It is funded by Emerson College's Office of
Academic Affairs, Institute for Liberal Arts and Interdisciplinary Studies,
School of the Arts, and Department of Visual and Media Arts.
For more information please visit
http://institute.emerson.edu/floatingpoints/06/index.php
Jo-Anne Green, Co-Director
New Radio and Performing Arts, Inc.: http://new-radio.org
New York: 917.548.7780 . Boston: 617.522.3856
Turbulence: http://turbulence.org
New American Radio: http://somewhere.org
Networked_Performance Blog: http://turbulence.org/blog
Upgrade! Boston: http://turbulence.org/upgrade

DISCUSSION
Posted on Fri Jan 27, 2006

## Turbulence Winter/Spring News

|<| FLOATING POINTS 3: UBIQUITOUS COMPUTING [02.08.06 + 03.15.06] |>|
|<<| RELATIONALITY VS AUTONOMY IN MEDIA ART [02.23.06] |>>|
|<<<| UPGRADE! BOSTON: MARISA S. OLSON [02.24.06] |>>>|
|<<<<| NET ART AND NETWORKED HYBRID ART COMPETITION [NOW UNTIL 02.28.06]
|>>>>|
|<<<<<| UPGRADE! BOSTON: BROOKE A. KNIGHT [03.02.06] |>>>>>|
|<<<<<<| TURBULENCE FUNDRAISER [NOW] |>>>>>>|
|<| FLOATING POINTS 3: UBIQUITOUS COMPUTING |>|
In partnership with Emerson College
http://institute.emerson.edu/floatingpoints/
February 8 and March 15, 7:00 p.m.
Floating Points 3 will address the subject of "Ubiquitous Computing" or
"Ubicomp," where computing and wireless capabilities are so integrated into
the fabric of everyday life (clothing, cars, homes, and offices) that the
technologies recede into the background and become indistinguishable from
everyday activities. Panel 1 will focus on responsive environments and
systems, and Panel 2 will concentrate on networked devices such as barcodes
and RFID tags and creative strategies to subvert the ever-enlarging practice
of surveillance and data mining.
|<<| FROM DATABASE AND PLACE TO BIO-TECH AND BOTS: RELATIONALITY VS AUTONOMY
IN MEDIA ART |>>|
Turbulence's Helen Thorington, Panelist
College Arts Association, Boston
http://conference.collegeart.org/2006/sessions/thu/
February 23, 2006, 12:30-2:00 p.m.
Moderator: Marisa Olson
Panelists: Tad Hirsch, Warren Sack, Brett Stalbaum, and Helen Thorington
|<<<| UPGRADE! BOSTON: MARISA S. OLSON |>>>|
In partnership with Art Interactive
http://www.turbulence.org/upgrade/archives/02_06MSO.html
February 24, 7:00 p.m.
Marisa S. Olson is a San Francisco-based artist and is also Editor & Curator
at Large of Rhizome. She has most recently performed or exhibited at the
Whitney Museum of American Art, the New Museum of Contemporary Art, the
Berkeley Art Museum/Pacific Film Archive, New Langton Arts, Southern
Exposure, Pond, Foxy Productions, Debs & Co, and the international
Futuresonic, Electrofringe, Machinista, and VIPER festivals. While Wired has
called her both funny and humorous, the New York Times has called her
"anything but stupid."
|<<<<| TURBULENCE NEW ENGLAND INITIATIVE II: NET ART AND NETWORKED HYBRID
ART COMPETITION |>>>>|
In partnership with Art Interactive; funded by the LEF Foundation
http://www.turbulence.org/ne2/guidelines.html
Deadline: February 28
|<<<<<| UPGRADE! BOSTON: BROOKE A. KNIGHT |>>>>>|
In partnership with Art Interactive
http://www.turbulence.org/upgrade/archives/03_06BK.html
March 2, 7:00 p.m.
Brooke A. Knight is an artist and educator who has been working with digital
media for over a dozen years. His current areas of interest include webcams,
the landscape, and text in all forms. He is an Assistant Professor in the
Department of Visual and Media Arts at Emerson College in Boston, where he
teaches classes in interactive media. He received his MFA in photography
from CalArts in 1995.
|<<<<<<| TURBULENCE FUNDRAISER |>>>>>>|
http://www.turbulence.org/fundraiser_05/index.html
It's not too late to contribute!
Thanks for your Support.
Jo and Helen

DISCUSSION
Posted on Mon Jan 23, 2006

## Competition URL Now Available

Turbulence New England Initiative II: Net Art and Hybrid Networked Art
Competition
http://www.turbulence.org/ne2/guidelines.html
WHAT: 3 commissions @ $3,500 each
ELIGIBILITY: New England Residents (Connecticut, Maine, Massachusetts, New
Hampshire, Rhode Island and Vermont)
DEADLINE: February 28, 2006
JURY: Julian Bleecker, Michele Thursz, and Helen Thorington
EXHIBITION: commissioned works will be exhibited on Turbulence
(http://turbulence.org) and at Art Interactive (http://artinteractive.org)
SUPPORT: LEF Foundation
Questions? Contact me: turbulence@turbulence.org
Jo-Anne Green, Co-Director
New Radio and Performing Arts, Inc.: http://new-radio.org
New York: 917.548.7780 . Boston: 617.522.3856
Turbulence: http://turbulence.org
New American Radio: http://somewhere.org
Networked_Performance Blog: http://turbulence.org/blog
Upgrade! Boston: http://turbulence.org/upgrade

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