May 10, 2007
koosil-ja / danceKUMIKO
Radical New York-based choreographer/dancer/ singer song writer/ new media artist Koosil-Ja presents an electrifying multimedia dance-performance with live 3-D environment, seamlessly incorporating elements of traditional noh music and choreography from the classic noh play Dojoji. The legends surrounding Dojo-ji Temple in Wakayama, southeast of Osaka, have inspired numerous noh and kabuki plays about the vengeful spirit of a spurned woman. By juxtaposing the restrained and subtle choreography of Dojoji with 3D world imaging projected on to a large screen, the daring Bessie Award and Guggenheim Fellowship-winning artist Koosil-ja transposes the work into her own aesthetic context, creating an innovative blend of modern and traditional, digital and flesh.
The production features 3D world designed and production by Claudia Hart, 3D Interactive interface designed and performed by John Klima, live Neo Punk Music by Geoff Matters, dramaturgy by Nanako Nakajima, Pendulum & Physical Apparatus Design and Kinetic Engineering by Michael Casselli, Head Gear by Tara Webb, and Betnon-C Bainbirdge (Video Projection Super Engineering).
Geoff Matters (Live Neo Punk Music and Software Design)
Nanako Nakajima (Dramaturgy)
Michael Casselli (Pendulum & Physical Apparatus Design and Kinetic Engineering)
Claudia Hart (3D Wrold)
John Klima (3D Interface & Live Performance)
koosil-ja (Concept, Dance, Video, Video pendulum, Song, Sound Installation and Costume)
Tara Webb (Head Gear)
Benton-C Bainbirdge (Video Projection Super Engineering)
Dates: Thu-Sat May 31- June 2, 2007
Location: 333 East 47th Street, btwn 1st and 2nd Ave. NYC
Tickets: $25/$20 Japan Society members.
Reservations: Japan Society (212) 715-1258
at JAPAN SOCIETY Ticket Information
STUDENT RUSH $12.50 Student Rush (50% off!)
Pending availability, Student Rush tickets will go on sale an hour
before showtime. Valid ID required, 2 tickets max per ID.
mech[a]OUTPUT is made possible by a commission from Japan Society; funds from American Music Center Live Music for Dance, and New York City Department of Cultural Affairs; and generous individual contributions.
May 26, 2006
HTTP Gallery is pleased to present Urban Eyes, an intermedia project by Marcus Kirsch and Jussi Angesleva. Private View: 1st June 2006 7-9pm; Exhibition: 1st June - 9th July 2006, Friday- Sunday: 12 noon-5 pm; Unit A2, Arena Business Centre, 71 Ashfield Rd, London N4 1NY; tel: + 44 (0)20 8802 2827; info[at]http.uk.net
Urban Eyes uses wireless technology, birdseeds and city pigeons to reconnect urban dwellers with their surroundings. The Urban Eyes feeding-platform stands in one of London's public spaces. By landing on the platform, pigeons tagged with RFID chips send aerial photographs of their locality to surrounding Bluetooth-enabled devices. In this work pigeons become maverick messengers in the information super-highway, fusing feral and digital networks. HTTP Gallery provides an interface to the project, mixing live and documentary footage and offering visitors an opportunity to experiment with Bluetooth.
Being one of the last remaining signs of nature in a metropolis such as London, the urban pigeon population represents a network of ever-changing patterns more complex than anything ever produced by a machine. However pigeons' movements are based on a one-mile radius around their nest. Any pigeon you see everyday shares the same turf as you. Urban Eyes crosses and expands human mobility patterns offering to reconnect you with your neighbourhood.
In the 1960s, situationists Debord and Jorn composed psycho-geographic diagrams of Paris, which described navigational systems based on their drift through the city. For this, they used Blondel la Rougery's Plan de Paris a vol d'oiseau, a bird-eyes map of Paris. Inspired by this methodology, Urban Eyes enlists our feathered neighbours to establish a connection between the bird-eyes view of the city as now distributed by Google Earth and our terrestrial experience. [Related]
About Marcus Kirsch and Jussi Angesleva
Marcus Kirsch holds an MA in Interaction Design from Royal College of Art. He was invited to the 2004 Seoul Biennale and as exhibiting artist and to last year's Rotterdam International Film Festival and DEAF Festival. He was awarded a silver Art Directors Club NY and a fusedspace.com award in collaboration with Jussi for 'Urban Eyes'.
Jussi Angesleva holds MA in Audio Visual Media Culture from the University of Lapland in Finland, and MA in Interaction Design from the Royal College of Art and has shown at the Tokyo Metropolitan Museum of Photography, Siggraph, ZKM and Science Museum London. He has received awards from Royal Society of Arts, NESTA, from D&AD (together with Ross Cooper), Prix Ars Electronica and the Art Directors Club of Europe. He is currently working at ART+COM in Berlin, Germany and is a co-founder of new media agency Prosopon.
For more information and images, please contact Stephanie Delcroix
This project is supported by Arts Council England (London), V2 lab (Rotterdam, Netherlands) and Furtherfield.org.
May 19, 2006
SOLAR RADIO STATION
Sounds of the Universe
SOLAR RADIO STATION, a project by RIXC, Center for New Media Culture, Riga (LV) and r a d i o q u a l i a (NZ / AUS / GB / NL); PHOENIX Halle Dortmund; May 20 - July 16, 2006; Opening: Friday, May 20, 2006, 18:00.
In this (live) installation one can listen to the sounds of the universe originating from various sources. They have been collected by the artists' group r a d i o q u a l i a (Honor Harger, Adam Hyde) in cooperation with RIXC, Center for New Media Culture, Riga. The recordings are coming from various radio telescopes. Additionally, during two days, there will be live feeds from the VIRAC radio astronomy telescope in Irbene (Latvia) which will be acoustically re-worked and interpreted live by the experimental musicians Clausthome (Latvia). VIRAC is the largest radio telescope worldwide (with a dish diameter of 32 meters) accessible for civilian use - thanks to RIXC's continued efforts. During the cold war the KGB used the radio telescope for tapping into NATO's and other military networks.
The installation “Solar Radio Station" consists of three parts. r a d i o q u a l i a's computer and sound installation “solar listening_station" is the first part. It contains recordings and live streams of radio waves from space, especially from the sun. The second part “Spectrosphere" also contains signals originating from the VIRAC radio telescope, this time modulated via electronic instruments and interpreted visually. Here, Clausthome and VJ Ratniks present the results of their live performance from May 20 + 21 at PHOENIX Halle until July 16, 2006. The third part consists of a comprehensive video documentation of the VIRAC telescope by RIXC. Additionally, on a large scale poster the existing frequency spectrum is visualized and its current use is explained.
LIVE INSTALLATION: Sat + Sun, May 20 + 21, 2006, 19:00 - 21:00; The Riga based group Clausthome and VJ Martins Ratniks (F5/RIXC) will perform live in the Solar Radio Station. The live audio stream from the VIRAC radio telescope in Irbene, carrying data from the sun and from space, will be electronically enhanced by Clausthome and interpreted visually by VJ Martins Ratniks.
A project by RIXC, Center for New Media Culture, Riga (LV) and r a d i o q u a l i a (NZ / AUS / GB / NL).
RIXC (LV) - Raitis Smits, Rasa Smite, Martins Ratniks, Davis Bojars r a d i o q u a l i a (NZ/AUS/NL/GB) - Adam Hyde, Honor Harger Clausthome (LV) - Lauris Vorslavs, Girts Radzins
In the framework of the exhibition "mit allem rechnen. Medienkunst aus Estland, Lettland und Litauen / face the unexpected. Media art from Estonia, Latvia and Lithuania" - a cooperation between Hartware MedienKunstVerein and Museum am Ostwall, Dortmund/Germany.
SUPPORTED BY: Kulturbuero Stadt Dortmund, 38. internationale kulturtage der stadt dortmund / scene: estland lettland litauen in nrw, Kunststiftung NRW, Der Ministerpraesident des Landes Nordrhein-Westfalen, Kultusministerium der Republik Estland, Kultusministerium der Republik Lettland, Kultusministerium der Republik Litauen, Botschaft der Republik Litauen in der Bundesrepublik Deutschland, Lietuvos Institutas, dortmund-project, LEG, PHOENIX, Medion, Coolibri (Medienpartner).
VENUE: Hartware MedienKunstVerein at PHOENIX Halle Dortmund, Rombergstr. / Ecke Hochofenstr. (no postal address!) Dortmund-Hoerde, Germany.
ADMISSION: PHOENIX Halle: 4 Euro, reduced 2 Euro (incl. admission to the exhibition "Glamour and Globalization") Kombiticket Museum am Ostwall and PHOENIX Halle: 6 Euro, reduced 3 Euro (incl. admission to the exhibition "Glamour and Globalization")
HOW TO GET THERE http://www.hmkv.de/dyn/e_contact_roaddescription/
D - 44143 Dortmund
Tel: ++49 - 231 - 823 106
April 22, 2006
Gao Zhen and Gao Qiang
THE UTOPIA OF HUGGING
The Utopia of Hugging: A performance by the Gao Brothers from Beijing at Arboretum Park, Nottingham/UK, SUNDAY APRIL 30, 2006 FROM 11:30 AM. A video of the Nottingham Hug will be online 3 hours later [14:30 GMT] at
As part of their global World Hug Day performances, internationally renowned Chinese artist brothers Gao Zhen and Gao Qiang invite you to participate in the most ambitious event of the series to date; a group embrace of epic proportions orchestrated at the Networking Artists Network [NAN] conference and representing the first ever mass hugging to be staged in the British Isles.
Volunteers wishing to take part in the performance are invited to come to Arboretum Park where they will be directed with hundreds of others by the Gao Brothers to embark on a hearty fifteen minutes hug with a stranger, followed by one gigantic hugging cluster formed by the entire group, all accompanied by the music of J.S. Bach. Speaking about their first performance of a group hug THE UTOPIA OF HUGGING [Shangdong Province, China, September 2000] the Gao Brothers explain:
"We invited some 150 volunteers, who were previously strangers to each other, to participate. We asked the participants to choose a person at random for a hug, which they would then do simultaneously with hundreds of other couples. We then asked everyone present to cluster into one big group hug. Since then, we personally have hugged hundreds of strangers, and organised group hugs amongst strangers in different public locations and in different ways all across China."
World Hug Day series will continue in Marseille on the 9th of June, running concurrent with an international travelling photo exhibition documenting all performances so far.
The event will be followed by a press-conference / presentation with the Gao Brothers and their co-organsing partners from artists group Digital Art Projects at the nearby Waverley lecture theatre of Nottingham Trent University from 12:30 onwards.
September 06, 2005
StrandBeest and the Fossils of New Media Art
I've just come out of a presentation by Theo Jansen of his StrandBeest, huge creatures made out of electrical tubing, cable clips and other cheap materials. Jansen is an engineer/artist who has spent the last 15 years evolving the StrandBeest as wind-powered walking beasts that roam the sand of the beaches where he lives. They are beautiful creations, awe-inspiring in their complexity, and graceful in their movements.
Jansen has used evolution simulation to develop more efficient joints for the creatures legs, and has now developed techniques (using plastic bottles and netting) to store the wind that blows along the beach and use it as power for the StrandBeest. His current research is in developing systems of 'liars' - simple yes/no logic gates powered by air and tubing. He is developing these into networks that are either dynamic, and therefore can drive movement, or are static, and can store information. He believes that the StrandBeest will be able to count their steps, realise when they are approaching the sea, or even pass knowledge on to new generations of beasts.
The presentation was part of this year's Ars Electronica festival, a series of exhibitions and symposia on the theme of 'Hybrid'. I've been to a few of the talks, but much of the interpretation of the Hybrid theme has been far too esoteric and academic, and I don't have the stomach for that kind of debate any more. I caught the end of Neil Gershefeld's presentation via webcam of his FabLabs and Internet 0 projects, which were very inspiring, and perfectly addressed the Hybrid theme by taking digitisation into real production. David Weinberger followed with a very interesting thesis on how we are moving into a third mode of structuring knowledge, away from Aristotlean tree structures and taxonomies, and towards a cloud of dynamically structured (*not* unstructured!) links, tags and conversations.
But the highlight by a long way has been the StrandBeest. I don't know whether it was Theo Jansen's dry wit, the anthropmorphic delight his creatures create, or sheer awe at their technical complexity, but he enraptured the audience, and earned a standing ovation at the end. By taking engineering back to basics (his work is often compared to Da Vinci's unbuilt prototypes), Jansen's evolving working method somehow reminded me of current trends in bottom-up development in software and interaction design.
I didn't expect to find that the most inspiring work at Arts Electronica wasn't electronic at all. In contrast, much of the new media work being exhibited looks tired an old, and could have come from any festival in the last 10 years. The StrandBeest look like they could have come from any time in the last 1000 years, and somehow look more futuristic because of this. By taking engineering back to basics, Jansen's work offers inspiration for new ways of thinking about software and interaction design. Most of the other work here looks like it has reached a dead end, playing out variations on interaction models (stand in front of a screen and wave at something, move things around a table to make music, etc, etc) that don't seem to have moved on for a decade. The StrandBeest might look like fossils, but they've got more life in them than anything else here. [Posted by matlock on test]
Related: Interview with Theo Jansen
Bamiyan's Laser Buddhas
Six months before radical islamists affiliated with Afghanistan's Taliban got our attention on September 11, 2001, they outraged the world by blasting 1600-year old Buddha statues off the face of the Bamiyan Valley cliffs. Now California-based artist Hiro Yamagata has plans to put them back.
At the request of Afghanistan's government, he'll install a permanent laser projection system in the valley to superimpose 140 faceless, overlapping Buddhas. To be completed by June 2007, the project will utilize 14 laser projectors powered by windmills and solar panels to create the nearly 200-foot tall images. While Yamagato says "I'm doing a fine art piece. That's my purpose - not for human rights, or for supporting religion or a political statement," the medium of light, a theme in most major religions, seems perfect for illustrating the ethereal and ultimately indestructible nature of what underlies not only Buddhism but most spiritual traditions. [posted by Paul Schmelzer on Eyeteeth]
July 27, 2005
The Reentry Series
Synthetic Meteor Showers
The Reentry Series uses multiple synthetic meteors to produce luminous, ephemeral drawings in the upper atmosphere. These drawings will persist for only seconds, at most minutes. The behavior of individual synthetic meteors will be similar to that of naturally occurring meteors. However their composition and configuration will be controlled, exhibiting various elementary geometric relationships which will seem obviously premeditated and systematic to any observer. That these are deliberate renderings will be inescapable. The Reentry Series is one of several proposed series of dynamic environmental works which involve the synthesis and aestheticised use of otherwise naturally occurring, very large scale, time dependent visual phenomena.
The work explores the large scale use of the environment, and the atmosphere in particular, as a medium for visual composition. A consequence of the activity is to highlight the extent to which humankind has impacted and has control over the environment. The work mimics the naturally occurring phenomena of meteors, which have historically been attributed with significant religious or supernatural import as signs or omens and demonstrates that these events can now be synthesized and manipulated at will. It is land art on a mega scale, exposing the degree to which we have altered and have the ability to further modify our environment. The work combines elements and properties of technological, environmental, and conceptual art.
December 27, 2004
Emerging Infrastructures of All (Inter)net Research
Dr. Reinhold Grether's network research | netzwissenschaft site maps the "emerging infrastructures of all (inter)net research endeavours. net.science as an anthropology of connectivity is trying to overcome the constraints of specialist method transfers on net matters. the protuberance of technical networks necessitates a professionalization of human net knowledge. neither the isolation of concepts as in basic research nor the encapsulation of processes as in applied sciences will ever be able to adequately describe the complex autopoiesis of networks. net.science is undoubtedly developing into a scienza nuova of its own right."
October 28, 2004
The Other Path
The Other Path is a project by C5 that combines landscape exploration with what I might call "speculative geography". C5 members went on a trek to collect GPS data about the Great Wall of China. They will sift through the mass of data they obtained about the Great Wall, to discover the most similiar terrain that exists in California (where C5 is based).
The project's intention is to "create exploration in a time when everything has been explored." An interesting objective, one that raises political and social questions about the value of exploration and its impact.
"The Other Path" is part of C5's Landscape Initiative. (Posted by Michelle Kasprzak)
September 19, 2004
the wind beneath my wheels
The Aeolian Ride, facilitated by Jessica Findley, is a public, open performance in which 50 bicycle riders wear suits that inflate in the wind. She uses email and the internet to get riders, safety guards and documentarians to sign up, and is working towards worldwide exposure. So far, she hit NYC (video and pics on Aeolian Ride site), and is currently looking for volunteers in San Francisco and Cape Town (yay! Art in South Africa!). [Posted by Nathaniel Stern]
August 02, 2004
Agora Phobia (digitalis)
Agora Phobia (digitalis)
by Karen Lancel
Eyebeam presented the U.S. premiere of Agora Phobia (digitalis), a physical and online art project that questions mental images of being (un)safe and isolated. The physical component was installed on the street in front of Eyebeam's Chelsea facility in 2000. Created by Dutch artist Karen Lancel, Agora Phobia Digitalis invites the audience into a semi-transparent, inflatable Isolation Pillar which contains an online computer. Only large enough for one person to enter at a time, participants can feel the crowd outside but can only vaguely see shapes and figures around them. Inside one feels very safe within an intimate space, and at the same time, lacking contact with the outside. Viewers inside the pillar may participate in an internet-dialogue with people living in isolation elsewhere: a prisoner, a nun, a digipersona, a prisoner of war (POW), someone suffering from agoraphobia. The resulting dialogue is published on www.agora-phobia-digitalis.org and is part of an archive of chatsheets, performances, and installations. Agora Phobia Digitalis examines fluctuating notions of security in private and public spaces both physical and virtual.
Pedestrian Cinematic Experience
Pedestrian by Shelley Eshkar and Paul Kaiser
February 13 - March 23, 2002:
Pedestrian is a public art project of site-specific, projected installations presented simultaneously in three locations in New York City - in the galleries at Eyebeam in Chelsea and at two outdoor venues; at Rockefeller Plaza in Midtown, and The Studio Museum in Harlem.
Created by artists Shelley Eshkar and Paul Kaiser and co-produced by Eyebeam and Art Production Fund, Pedestrian presents miniature, computer-generated moving figures projected directly onto the ground from above, providing a bird's-eye view of pedestrian traffic. These projected "pedestrians" interact to form patterns, crowds and streams that evolve unpredictably, almost organically, as if having lives of their own. Figures stand, watch, meet, sit, push, move away, sometimes run, or perhaps even lie down according to spontaneous rules of motion and engagement. Pedestrian builds on advanced technology, combining motion-capture, 3-D modeling software, texture mapping to visually enrich surface detail, behavioral rules devised by the artists to drive the action, and an overarching cinematic framework.
Pedestrian depicts a solid and almost tactile world within the pavement you walk upon. It's medium is that of a projected image directly onto the pavement. Instead of a sober rectangle, spectators form a dynamic human perimeter around the work. These are conscious choices to emphasize the work's physicality, and to have our own presence essentially complete the artwork; we and Pedestrian generate a unique crowd footprint in the real world.
By projecting Pedestrian onto public sidewalks, the artists experiment with cinematic experience in the context of public sculpture. Viewers see a bird's eye view of 3D modeled plazas and figures that are mapped with texture samples gathered and scanned from the real world. All movement is built from a library of motion-captured data that is mapped onto synthetic characters. The final projection shows a miniature depiction of real - life motions and the daily public interactions of figures representing various urban archetypes. The distorted foreshortening of an aerial perspective of doll-like figures and plazas are suggestive of surveillance or video games in which we play out constantly changing narratives and dialogue that will continue outside of our current viewpoint
Featured in the ZKM book Future Cinema.
August 01, 2004
Mixed Reality in Los Angeles
34 North 118 West plays through a Tablet PC with Global Positioning System receiver and headphones. GPS tracks your location to determine how the story unfolds - in real time, in real space, as you traverse the sidewalks of Los Angeles.
Description of Tour: Imagine walking through the city and triggering moments in time. Imagine wandering through a space inhabited with the sonic ghosts of another era. Like ether, the air around you pulses with spirits, voices, and sounds. Streets, buildings, and hidden fragments tell a story. The setting is the Freight Depot in downtown Los Angeles. At the turn of the century Railroads were synonymous with power, speed and modernization. Telegraphs and Railroads were our first cross-country infrastructures, preceding the Internet. From the history and myth of the Railroad to the present day, sounds and voices drift in and out as you walk. Read Narrative Archaeology by Jeremy Hight.
Posted by michelle at 06:07 PM
July 30, 2004
Described by Adriene Jenick as a "Speculative Distributed Cinema Project....a series of fictional events performed as distributed cinema. SPEC-FLIC is a platform for speculation, creative experimentation and imagination among UCSD students, faculty, staff and the larger public. SPEC-FLIC's title refers to speculative fiction (an area of science fiction that is focused less on new science/tech and more on societal impacts) as well as to the size (a "speck") of the PDA-based video frame that serves as the conduit for this durational collective performance. Originally described as a distributed science fiction soap opera in three phases."
Adriene, tell us about this image.
What is the technology and experience behind this work?
Would you speak about the progression of your work from Paper Tiger television to Desktop Theatre on the internet to Active Campus and Spec Flic on the wireless network?
In your initial post you note these ongoing issues. Can you discuss them by way of examples from your work?
this can be thought of from the perspective of participants or from "viewers" - in my experience the "lags" and glitches are all absorbable within the context of a live event. The archiving of this work does not allow for its tension to exist
- relationship of writing to performing, or textuality and orality
this is hugely fascinating to me especially considering the constant evolution of written and spoken language
- use of agitprop to catalyze unexpected engagements
all of my work is engaged within the larger "publc sphere" and cedes a large amount of control to the folks who are engaging with it.
Regarding SPEC-FLIC, your blog shows you in the midst of testing equipment. What are you testing? What is your creative process for working with technology and networks?
July 27, 2004
More about Blast Theory
Matt Adams of Blast Theory posted a comment of encouragement to the blog's opening and I'd like to follow up with more about Blast Theory and a call out to Matt to respond to some specific questions about their work.
Blast Theory, comprised of Matt Adams, Ju Row Farr, and Nichols Tandavanitj, describe themselves as 'an artist group whose work explores interactivity and the relationship between real and virtual space with a particular focus on the social and political aspects of technology. It confronts a media saturated world in which popular culture rules, using video, computers, performance, installation, mobile and online technologies to ask questions about the ideologies present in the information that envelops us.'
This is evident in a survey of their work over the past decade. Formed in 1991, a chronology of their work from 1994-2004 is available on their website where the themes and explorations of technology range from video in live performance to interactive installations with the most recent using a pda or 3G phone to enable a mixed-reality game-based experience.
Beginning with their 1999 work Desert Rain and continuing on to the mixed reality works Can You see Me Now (project website), Uncle Roy All Around You (project website), and I Like Frank (project website) they have collaborated with the Mixed Reality Lab (MRL), an interdisciplinary research initiative at the University of Nottingham which brings together leading researchers in Computer Science, Engineering and Psychology to research new technologies that merge the physical and digital worlds, focusing on playful, artistic and educational applications.
The projects with MRL are clearly interactive in their game structures and use of mobile, networked technologies. The hybrid online/live action approach was explored in Kidnapped (1998) and interactivity has been a component in the early work since Stampede, (1994) in which the audience triggered how the piece unfolded via pressure pads.
Their work has been described as 'somewhere between theatre, performance art, installation and club culture' by Lois Keidan, Director of Live Arts, Institute of Contemporary Arts, London. In reviews of Uncle Roy in 2003 a direct link to the content and approach of their work can be found - a group of friends with various creative backgrounds get together to form a theater company. This comes through in Matt's initial comment to the blog in which he claims his excitement for recent developments in networked_performance, despite the backward looking stance of many traditionally moored theater and dance practitioners. Blast Theory is freed from any prior history in a single discipline by having a group comprised from various practices across which they draw to create their work.
Matt, firstly, correct any inaccuracies in the above. Would you tell us what are the backgrounds of the members and elaborate on the evolution of the group from the early years till now. What led to the formation of the group and why theater? It seems that BT has always had an interest in media and technology born of club culture perhaps. What is the importance of the 'live' and 'performance' aspects of your work? As opposed to addressing the same social and political themes about technolgical impact on culture by focusing solely on interactive installations, such as in An Explicit Volume, for example.
How did the collaboration with Steve Benford and MRL evolve? How has the relationship with MRL influenced BT's work conceptually? You might also elaborate on how the collaboration has enabled your work to evolve technologically as well. Can you speak about the offshoot of the BT / MLR collaborative endeavor, EVERPRESENCE and your project Vicinity to which you've been able to apply these joint efforts? It appears to include aspects of the mixed reality game-based works and a reality-tv episodic, perhaps. What's the timeline for presenting this work?
You also mentioned in your post that there is lots of interesting work happening in networked_performance. What's out there that you currently find interesting and why?...