December 31, 2007
Redcheeks

Back home (one of the former European Cities of Culture) for Christmas and I managed to quickly see an exhibition entitled The Sleep of Reason at the Crawford Art Gallery. Things have now pretty much returned to normal in my home city after the city of culture, that is a general absence of culture and certainly any real challenging contemporary culture, but this exhibition had a small handful of works worth seeing.

The one video work that particularly interested me was Redcheeks by Michelle Deignan (video extract above) which consisted of a woman telling a winding account / story of the artist undertaking research in pursuit of an art works creation.

In “Red Cheeks”, an Irish actor adopts the guise of a education programme presenter. She makes a series of speeches to camera at three different locations around London; RTE’s offices at Millbank; The London Irish Women’s Centre; and at Irish Contemporary Art in Kensington. At each site she presents a narrative combining facts about the places and anecdotes about the artist which suggest some connections between the two. At the RTE location for example, we are told about the artist’s first British television appearance as a stand in for a suffragette. The London Irish Women’s centre gives us the opportunity to hear about Deignan’s altercation with a blind elderly racist in a chemist’s shop and at the possibly fictional site of Irish Contemporary Art we hear about the artist’s experience of an artwork at Freize Art Fair.

Not the typical type of work that I usual like however the idea of this work (a work very much in the conceptual tradition), its combination of storytelling with anecdotes (particularly Irish) which the artist has cleverly employed to establish links between places and people mentioned manages to create / highlight verbal / aural networks of associations through day to day interactions.

Posted by: Garrett @ 10:42 pm
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December 30, 2007
WikipediaVision

About two months ago I had a lecture with my year 3 students about net.art and it’s development. Towards the end there was focus on the idea of the Mashup (and its appropriation into web / software) along with the Internet of Things.

WikipediaVision

We looked at some examples of Mashups however the most interesting ones are a series of ‘vision’ mashups I’ve since stumbled accross. These include WikipediaVision (image above),

Flickrvision

Flickrvision (image above) and

Twittervision

Twittervision (image above).

Posted by: Garrett @ 12:19 pm
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December 27, 2007
Augmented reality projections

automatic projector calibration

I stumbled across an interesting post a few days ago on HC Gilje’s weblog Conversations with Spaces concerning relief projections. The focus in the post was on the work Augmented Sculpture v1.0 by Pablo Valbuena, which is incredibly beautiful, however the research by Johnny Chung Lee into automatic projector calibration (images above, video below) stood out as being a research system of great benefit to augmented reality and of course the Internet of Things.

These projections could be used in a number of ways, from simple non-standard shape projections, display enhanced objects, motion-tracked displays within augmented environments (e.g. in Minority report), augmenting physical objects with graphical interfaces and displays etc.

Sourced from HC Gilje’s weblog Conversations with Spaces.

Posted by: Garrett @ 12:49 pm
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December 26, 2007
Camera Obscura 1-∞

Camera Obscura

Camera Obscura 1-∞ is a collaborative net.art project employing the web in an unusual way. It does this through its own website and ebay, it’s audience who become active contributors to the project and a photographic exhibition space at Gallery Merid in Stuttgart, Germany. Dedicated to the polish artist Roman Opalka and his work 1965/1-∞

two holes of a twin-holed pinhole camera are being auctioned simultaneously on Ebay every week…The highest bidders in each case receive one after the other a pinhole camera loaded with a piece of unexposed sheet of 5×7 Inch b/w film. They punch a hole with the enclosed needle and expose their own photograph in turn. Because of the minimal distance between the two holes the two photos overlap partly, so that a joint picture emerges, created by two people in different parts of the world. In the course of time a sort of photographic global puzzle will emerge – one continuous series of parallel exposures.

Camera Obscura photos

Above left: Pinhole #69, 06.11.2005, Kevin Barnsley / Stourbridge / GBR, Pinhole #70 06.11.2005, Michael Kirste / Berlin / GER.
Above right: Pinhole #33, 04.07.2005, Paul Bach / Bofferdange / LUX, Pinhole #34, 04.07.2005, Bert J. Kuijer / Huizen / NED.

Camera Obscura photos

Above left: Pinhole #209, 08.03.2007, John Earl Jones / Schwenksville PA / USA, Are you talking to me!, Pinhole #210, 08.03.2007, John Earl Jones / Schwenksville PA / USA, Are you talking to me!
Above right: Pinhole #21, 23.05.2005, Dean Beckworth / Melbourne / AUS, Anatomy Doll, Pinhole #22 23.05.2005, Klaus Erlach / Stuttgart / GER, Nordbahnhof.

Posted by: Garrett @ 1:57 pm
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December 24, 2007
Networked works by Sneha Solanki

The Power and Pathology of Networks:

a two-day symposium that explores the creative and destructive forces of global networks through the eyes of network theorists, media critics, industry experts, social scientists, and artists

and I love you [rev.eng], it’s related exhibition:

the first exhibition worldwide dedicated to the phenomena of computer security and computer viruses

in 2004 presented a selection of works from net.artists / hackers, some of which have become well know such as biennale.py by 0100101110101101.org and epidemiC and others such as The Lovers by Sneha Solanki which are not so well known.

Timebomb & The Lovers

Sneha Solanki has quite a few works on her website which focus on the use of networks within, on or part of art works. What follows is a selection of these. Timebomb (image above left) is:

a three machine networked piece which transfers strings of code from a recent virus between each of the networked machines. The machines process the information in turn by replacing specific part of the code to either form into a fully functional virus or dis-enable virus functionality.

The Lovers (image above right), a similar work involves:

Two networked machines, one infected with a virus, slowly infects the other through the interface of classic romantic poetry.

A breakdown in the relationship was inevitable once the virus had seeped into the memory of one machine and then into the other through a singular network cable affecting the poetic text files. Communication between the two deteriorated, leading to irrational & at times odd behaviour. Each machine reacted with equal confusion and conflict. The interface text became an illegible poetic mutation of itself.

In no particular order

Lastly, In no particular order (image above) is less of an automated software installation and more of a performance between artist and network:

Remote monitors displayed the real time desktop actions and cursor movements of a cybraian as she navigated through the internet to research into particular defunct classical objects from her physical institutional space.

Inconspicuously based in the library, she became an invisible mechanism orchestrating an interaction between the two parallel spaces of information and data, metamorphosizing the real objects and taking the viewer on an virtual archival journey through the internet.

The un-edited history of uniform resource locators accessed were updated and archived online intermittently throughout the live performance as an ‘artificial http://repository’.

Posted by: Garrett @ 12:58 pm
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