November 14, 2014
Networked Bodies: Digital Performance Weekender | photos

Some highlights from Networked Bodies, the Digital Performance Weekender, at Watermans Gallery last weekend (07/11/14 – 09/11/14) in London. The gallery looked superb with some very interesting and diverse works – very happy with the way three of my works were exhibited. The symposium also had a few highlights, I was particularly interested in Julian Maynard Smiths paper which explored ideas of what is ‘real’ and ‘virtual’ as part of networked practice.


Above: The Sandwich Board.




Above: The Distinction Between Here and There, Now and Then and to the left on the computer A network of people who attended an exhibition and contributed to the creation of this work.


Above: The Anatomy of a Human Breath by Kasia Molga & Adrian Godwin.


Above: A paper given by Steve Dixon as part of the Symposium theme Telecollaborate Practices.



Above: A paper given by Julian Maynard Smith as part of the Symposium theme Telecollaborate Practices.



Above: A paper given by Body > Data > Space as part of the Symposium theme Connecting Senses.

Below is the full programme for the event.

Posted by: Garrett @ 12:49 pm
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February 14, 2014
Update: The Augmented Plateau: Art and Virtual Worlds in HUMlab 2007-2013


A group show I’m part of opens on Thursday April 10th (10/04/14) at Umeå University in Sweden. The Augmented Plateau: Art and Virtual Worlds in HUMlab 2007-2013, is a seven year overview of all artistic residencies and contributions to the HUMlab Yoshikaze Second Life space. The show is curated by Sachiko Hayashi, features works by:

Alpha Auer, Avatar Orchestra Metaverse, Fau Ferdinand, Garrett Lynch, Katerina Karoussos, Pyewacket Kazyanenko, SaveMe Oh, Selavy Oh, Oberon Onmura, Maya Paris, Kristine Schomaker, Goodwind Seiling, Alan Sondheim, Eupalinos Ugajin, Juria Yoshikawa.

and contributions by:
Marx Catteneo, Jo Ellsmere, Mab MacMoragh, Steve Millar and Evo Szuyuan.

10th April – 30th April 2014 @ HUMlabX, the Arts Campus at Umeå University, Sweden
Opening Hours: Monday – Friday, Noon – 4pm
(18th, 19th, 20th and 21st April Closed)

Posted by: Garrett @ 3:00 pm
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October 20, 2013
The Most Infamous Girl in the History of the Internet / Attractive Student / Parked Domain Girl


This girl has become a well known face on the web which in turn has become the subject matter of The Most Infamous Girl in the History of the Internet / Attractive Student / Parked Domain Girl by Parker Ito.

in his project The Most Infamous Girl in the History of the Internet, which he also calls Parked Domain Girl. A project, which serves as a reminder, that the moment anybody participates, anybody is no longer anybody. It is mass culture that is no longer mass culture since it is not made by an anonymous mass, but rather a lot of different people. The project started in 2010 and it is still running. It started when Parker Ito took over the probably most known stock photo of a woman on the Internet at the time. The photo was that of a smiling school girl who greeted all visitors, amidst various ads and links, to so-called parked domains bought by the company Demand Media – a company which had acquired thousands of domain names in order to resell them. Parker Ito asked the Chinese company to reproduce the photo in oil. In turn Parker Ito would paint and manipulate the oil reproductions which he again asked orderartwork to reproduce while simultaneously making the resulting images tour the internet, inviting others to join in. The default image quickly became a meme, produced by a variety of people from the copists who try to stay as close to the original as possible to amateurs on the Internet who most often try to do the opposite. The girl got “parked” on more and more sites – by Parker and many others. In the process various of her qualities were enhanced. While Parker painted her over, others undressed her. Some made her younger, others older. And while she gradually changed into many different things, it started to look as if this was what she was about all along. To some she looks innocent, a nice girl – to others beautiful, an object of desire. In the end, her innocence also became the object of desire that more and more people wanted to touch and retouch. The more people who joined in, the more she became the artist-as-network’s. The more she got parked, the more Parker’s she became. No wonder the girl’s brother, who took the photo and uploaded it to iStockphoto, felt strange about it. No wonder he wrote Parker Ito an email, explaining that though he ceded the rights to the photo for 60 cents to iStockphoto, he had not predicted the direction it would all take. The girl on the brother’s photo looks both like a kid and like a teenager. She is caught between two things, which are rather similar – close to one. As the project developed she has became more and more what Parker Ito is becoming.

The text here about this work is interesting.

Originally seen on We Find Wildness.

Posted by: Garrett @ 10:41 pm
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September 7, 2013
After Douglas Davis


After Douglas Davis by Owen Mundy is:

A “fork” of an early 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:


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, 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
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June 7, 2013
Roy Ascott: The Analogues

Posted a few hours ago through e-flux, the announcement of an exhibition by Roy Ascott titled Roy Ascott: The Analogues at the Plug In Institute of Contemporary Art Winnipeg, Canada.

Roy Ascott: The Analogues explores a small but crucial body of work by English inter-media artist and theorist Roy Ascott…The works in the exhibition were largely created in England between 1963 and 1970. They form a small but crucial part of the artist’s Analogue works—non-digital, two-dimensional and non-representational wall works that pre-figure his later artwork and theories relating to computer networks, viewer interaction, and telematics. Ascott was the first to coin the term “telematic art” to describe the use of online computer networks as an art medium.

The Analogues were stored near Toronto since Ascott departed that city in 1972, after a brief and tempestuous tenure as the President of the then Ontario College of Art (now OCAD University). Hired in 1971 by OCA, Ascott was poised to overhaul the college’s programs. His forward-looking ideas anticipated later developments in art pedagogy, but polarized the community, precipitating his hasty departure…The Analogues were created during the period between his initial contact with cybernetic theory and his first digitally networked experiences online. Consequently, The Analogues form an indexical moment through which we may better understand Ascott’s impact on art, new media theory and education. As we can see in these works, Ascott anticipated the concept of “interactivity” in art, and his radical Groundcourse in art education positioned the importance of education in artistic practice, especially notable in relation to the educational turn in contemporary art.

The exhibition runs from July 5th to September 29, 2013. There will also be a talk by Roy Ascott on July 4th to open the show. A publication Roy Ascott: The Analogues will be published by Plug In Editions, with an essay by Anthony Kiendl and an interview with Ascott by Dr. Melentie Pandilovski, Director of Video Pool Media Arts Centre, Winnipeg.

Posted by: Garrett @ 12:14 am
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