Presentation: New Media Showcase

I will be participating in a series of short presentations by 18 artists, organized by the New Media Caucus during the week of CAA 2011 in New York. Here are the details on time and  location:

New Media Showcase & Reception at SVA MFA Computer Art Department
SVA MFA Computer Art Department – 133-141 West 21st Street
Showcase: Wed 2/9, 6-8pm, Room 101-C Lecture Hall
Reception: Wed 2/9, 8-10pm, 10th Floor

Join us at the School of Visual Arts MFA Computer Arts Department for an impressive lineup of 18 presentations by NMC member artists about their work. Following the presentations will be a reception with food and drink, and video screenings of work from members of the NMC in an informal, relaxed atmosphere! NMC Showcase Presentations by: Victoria Bradbury, Jon Cates, Rachel Clarke, Seth Cluett, Peter DiPietro, Rachel Beth Egenhoefer, Dave Gordon, B. Colby Jennings, Patrick Lichty, Justin Lincoln, Christina McPhee, Ali Miharbi, A. Bill Miller, Molly Morin, Leila Nadir, Simone Paterson, Jack Stenner, and Daniel Temkin.

Other NMC events occurring during the week of CAA:
http://www.newmediacaucus.org/wp/caa-2011-conference-nmc-events-and-activities

Oulipo and Twitter

In his “Two Hundred and Forty-three Postcards in Real Colour” (first published in 1978), Georges Perec, a member of the Oulipo group, gave a mere recitation of messages from postcards as a short story. In the introduction of the containing book L’Infra-ordinaire, he reacts against the headlines in newspapers that are always about catastrophies, scandals, depressions and conflicts – anything except for what we encounter in everyday life. Since Perec thought this prevents us from looking at the essence of things and tells us no more than life is going on despite all the terrible things happening far away, he turned to the everyday events that no longer surprise us. The collection of postcards was part of this project. Here are some samples from the 243 postcards:

We’re camping near Ajaccio. Lovely weather. We eat well. I’ve got sunburnt. Fondest love.

We’re at the Hotel Alcazar. Getting a tan. Really nice! We’ve made loads of friends. Back on the 7th.

We’re sailing off L’Ile-Rousse. Getting ourselves a tan. Food admirable. I’ve gone and got sunburnt! Love etc.

Greetings from Hellenie. Sunning ourselves. Super! We’ve made heaps of friends. Many regards.

Visiting the Channel. Very restful. Lovely beaches. I’ve got sunburnt. Love.

Here we are in Frejus. Doing nothing all day except relax. Really nice. I go aquaplaning. Back as planned.

We’re camping next to Formentera. Weather good. Vast beach. My shoulders are roasted. Fond love to all boys and girls.

This sounds very much like a list of Twitter feeds to me. This is no surprise considering the connections and similarities between postcards, text-messaging and micro-blogging. Twitter’s 140-character limit is based on the 160-character limit in SMS. When trying to find an ideal length for modern short messages Friedhelm Hillebrand made the observation that most postcards have 150 characters or less. However the resemblance is not only in this limitation but also in the type of content.

According to the Twitter Facts & Figures compiled by Website Monitoring Blog earlier this year, the majority of Twitter messages are about the daily life: 27% of the content consists of private conversations, 30% is about user’s current status while current news and links to blog articles only sum up to a 16%. When it comes to the popularity of the content, we have a different picture. Based on the findings of Haewoon Kwak, Changhyun Lee, Hosung Park, and Sue Moon in their 2009 research What is Twitter, a Social Network or a News Media? over 85% of trending topics on Twitter are headline news or persistent news. Although expressions of the daily life don’t individually reach the wide audience that sensation-biased mainstream news reach, the sum of everyday conversations outnumbers any other category. On one hand people no longer have to stick with the mainstream media, on the other hand we see that even the banal is commodified where each instance of a daily conversation has become just another number in the statistical data collected by web companies. Oulipo’s use of constraints to trigger new ideas and inspiration crossed its way with micro-blogging, thanks to a combination of technological limitations (originally the character limit in SMS) and people’s increasing time constraints with decreasing attention spans. It’s interesting to see how artificial constraints used by avant-garde writers turned into a reality in the way we live, followed by technology companies reinventing and popularizing practices based on those constraints.

Thoughts on Variations and Remakes

Media & culture researcher and artist Eduardo Navas classified three different kinds of remix (extended, selected, reflexive) based on music and then mapped those on art history in his Remix Defined. Although his definitions look mind-opening to a certain degree, I think it’s hard to create a one-to-one mapping from remix practices in music to contemporary art, partly because the means of production have become fairly complex in the recent decades in all cultural fields. Remix is no longer limited with cutting, pasting, subtracting, adding, rearranging but can work across media and across different fields, methods or systems – deep remixability as Lev Manovich calls it. In many cases we can see remix, reenactments, remakes, variations and recontextualizations being combined with surprising results, thanks to the vast amount of information available on the Web as well as the variety of methods to process that information.

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Exhibition: Methods of Entanglement

Organized by Aaron Dubrow and co-presented by the Texas Advanced Computing Center (TACC) and MASS Gallery, “Methods of Entanglement” presented the digital and interactive work of eight artists who use scientific programming, custom software, hacked video games, and the Internet to respond to rapid advances in technology and to address questions of beauty, pop culture, and digital omnipresence.

A screen-based version of my piece Faces on Mars was shown on TACC’s “Stallion” visualization cluster and tiled display. Stallion is the highest resolution tiled display in the world at 307 megapixels.

Artists:

Robert Boland, Leigh Brodie, exCorporation, Ali Miharbi, Duncan Malashock, James Willard Pierce, Sam Sanford, Jeanne Stern, Jenny Vogel

Date: Thursday, September 9, 2010  7:00 – 10:00pm

http://www.tacc.utexas.edu/news/feature-stories/2010/methods-of-entanglement