September 22, 2013
The work of Amalia Pica

The following are works by Amalia Pica whose practice focuses on communication, its forms and signals. The following quote is from the Guardian’s review of her work:

art and life are characterised by gaps and missed signals. What interests Pica is the distance between sender and receiver, the ways we misunderstand or misremember. She addresses the problem of art speaking to people – like the time she used Semaphore flag code to broadcast gobbledygook in the middle of nowhere.

wall-could-talk

Above: If these walls could talk

shutter-telegraph

Above: Shutter telegraph (as seen on TV)

babble

Above: Babble, Blabber, Chatter, Gibber, Jabber, Patter, Prattle, Rattle, Yammer, Yada Yada Yada

wireless-way

Above: The wireless way in low visibility (recreation of the first system for non cable transmission, as seen on TV)

radar

Above: Acoustic Radar in Cardboard

metaphor-2

Above: Sorry for the metaphor #2

There is an interesting review on Art Agenda of Amalia Pica’s exhibition, Low Visibility, in Berlin this summer.

Posted by: Garrett @ 4:50 pm
Comments Off
September 17, 2013
Remote Install

remote-install

Remote Install by Julian Oliver is:

a work of network-dependent Software Art that presents its own installation process as an artefact in itself.

The work uses a strategy employed in the media art world where the artists work is installed and setup without the artist being present or solely by assisting through email/videotelephony etc.

Distributed as a stripped down, customised GNU/Linux Operating System, the gallery merely needs to copy a single file onto a USB stick, plug it into a computer on site and boot it on the day of the opening. Remote Install then analyses its network context and the amount of space given to it – the free space on the USB stick. It then logs into the artist’s server and creates a file of random binary data to exactly fill this space and proceeds to download it over the course of the entire exhibition. An algorithm ensures the last byte is downloaded on the last second of the exhibition.

An elegant formalistic software work which plays on strategy and process and has much in common with conceptual art.

Originally seen at I Like This Art.

Posted by: Garrett @ 12:40 am
Comments Off
September 12, 2013
Landscape Monolith

20130908-211303.jpg

Landscape Monolith by Reynald Drouhin is a series of eleven, internet found, modified landscape photographs featuring the ‘monolith’ that appears in many of his recent works.

20130908-211423.jpg

20130908-211503.jpg

20130908-211515.jpg

Posted by: Garrett @ 12:31 am
Comments Off
September 8, 2013
Paysage des Erreurs (Landscape of Errors)

20130908-122248.jpg

Paysage des Erreurs (Landscape of Errors) by Yann Le Guennec is a generative pictorial work based on 404 errors on the artists site. The following is my rough translation of part of the artists statement.

The error 404, it’s the idea that something searchsforsomething, somewhere, and does not find it, because that thing has been moved, destroyed, or never existed, or does not exist anymore. It’s what is produced by this action, a trace, saved at the location where that researched thing does not exist. In this, there is particular data: the address of the user, of their agent (browser), their IP address. It’s these addresses that I use in the Paysages des erreurs (Landscapes of Errors). The geometric forms drawn into the photographs of landscapes are shadows of agents that search and don’t find. They are like a gnomon (the part of a sundial that casts the shadow) installed in the ground. It represents that which does not exist, produced by presence at any given moment, the emergence of a metaphoric geometric form, where absence generates presence.

20130908-122416.jpg

For related work see the post on the artists work Datapainting.

Originally seen at Furtherfield.

Posted by: Garrett @ 12:35 pm
Comments Off
September 7, 2013
After Douglas Davis

after-douglas-davis

After Douglas Davis by Owen Mundy is:

A “fork” of an early net.art piece, “The World’s First Collaborative Sentence,” by Douglas Davis

Created as a reaction to the Whitney Museum of American Art’s strategy for restoring the work and putting it back online, the new work takes the code/work that originally allowed users to collaboratively build and share content to now itself become potentially a collaboratively built and shared ‘artefact’.

The following was posted through Nettime’s mailing list to announce the work:

Statement
————–

The World’s First Collaborative Sentence was created by Douglas Davis in 1994 and donated to the Whitney Museum of American Art in 1995. Much like today’s blog environments and methods for crowdsourcing knowledge, it allowed users to contribute practically any text or markup to a never-ending sentence with no limits on speech or length.

At some point the sentence stopped functioning, and in early 2012 the Whitney Museum undertook a “preservation effort” to repair and relaunch the project. Measures were taken to during the “restoration” to stay true to the original intent of the artist, leaving dead links and the original code in place.

During the preservation the curators placed small sections of garbled ASCII text from the project on Github with the hope that others would “fork” the data and repair the original. However, the Whitney Museum did not succeed in realizing that the collaborative culture of the net Davis predicted has actually arrived. This is evident not only through sites like Wikipedia, Facebook, and Tumblr, but the open source movement, which brings us Linux, Apache, and PHP, the very technologies used to view this page, as well as others like Firefox, Arduino, Processing,
and many more
.
In the spirit of open source software and artists like Duchamp, Levine, runme.org and Mandiberg, on September 5, 2013, I “forked” Douglas Davis’ Collaborative Sentence by downloading all pages and constructing from scratch the functional code which drives the project. I have now placed this work on Github with the following changes:

1. All pages are updated to HTML5 and UTF-8 character encoding
2. The functional code was rewritten from scratch including a script to remove malicious code
3. The addition of this statement

I was originally disappointed the Whitney Museum didn’t place the full source code in the public domain. What better way to make it possible for artists and programmers to extend the life of Davis’ project by learning from, reusing, and improving the original code than to open source this work? Though, possibly like Davis, my motivation is largely in part an interest in constructing a space for dialog, framing distinct questions and new possibilities, and waiting to see what happens from this gesture.

Posted by: Garrett @ 7:42 pm
Comments Off
Don't know what this is? Click here.
This is a QR Code, it's a printed link to this webpage on Network Research!

Using a web-enabled mobile phone with built-in camera and QR Code reader software you can photograph this printed page to display the original webpage. For more information on how to do this please see the short article here:

http://www.asquare.org/networkresearch/resources/qrcode-help

and download a reader application for your mobile device.
Creative Commons License
Except where otherwise noted, all works and documentation on the domain asquare.org are copyright
Garrett Lynch 2017 and licensed under a Creative Commons Attribution-ShareAlike 3.0 License.
asquare.org is powered by WordPress