Infinite Glitch is a online automated system that generates a live audio-visual stream from media files freely available on the web.

Every day an incomprehensible number of new digital media files are uploaded to hosting sites across the internet. Far too many for any one person to consume. Infinite Glitch is a stream-of-conciousness representation of this overwhelming flood of media, its fractured and degraded sounds and images reflecting how little we as an audience are able to retain from this daily barrage…Source audio and video files are ripped from a variety of popular media hosting sites, torn apart, and recombined using collage and glitch techniques to create an organic, chaotic flood of sensory input.

A discussion at an art gallery recently about utilitarian ceramics (specifically teapots) and their relevance in a gallery (just to be clear I defended their right to be there) coincided with seeing this online.

Google Vase is a vase conceived and created as a result of the most popular/relevant images retrieved from Google image search. The process of creating the work is described as follows:

A vase created by the work with the term itself. Researched pictures were collected and analized. The rotation outlines of 8 vases were arranged around a centre and connected by minimal surfaces in a 3D construction software. Afterwards the textures were set on the surfaces and the vase was printed by a 3D-Printer.

Reinventing a ‘traditional’ form through new media technologies, Google Vase is certainly relevant to any contemporary art gallery.

Originally seen at Triangulation Blog.

SYN by Artereazione.

SYN is a synchronization request packet on the Internet. SYN means “together” in ancient greek. SYN is the synapsis. Through the synapses a neuron exchanges informations with other neurons within a neural network managed by the brain. SYN installation is a “social brain” activated by new feeds posted on thematic blogs or web community pages.

Users can send impulses to the installation by leaving comments on the projects page.

Opening next Thursday in New York is a show titled Notes on a New Nature where I’ll be exhibiting Netscapes (image above) for the first time. This all happened very quickly about a week after the work was completed and if I had set out to target an exhibition or festival with Netscapes I couldn’t have matched the work more appropriately than Nicholas, the curator, did.

The exhibition is not a new media exhibition per se, it’s a post-new media exhibition – new media is no longer a defining characteristic but artists and works are informed by it. The exhibition bridges the transition from analogue to digital media and uses a very traditional subject, the landscape, to understand how the digital changes/reconfigures that subject. All the artists works participating in the show do this in different ways, for my part it is how a network (collapsing time and space) has a knock on effect on what a landscape can be, how networks allow us to see other places in combination from a distance.

Above: Depth Mapping (The Mountain) by Kate Steciw

The exhibition forms part of the ongoing research of the curator Nicholas O’Brien. It:

critically examines and compares the relationships that contemporary artists working with digital media have to practices started in Modernist Painting – specifically the pursuit of capturing the virtual qualities of what constitutes a landscape. How does an artist depict a space faithfully enough to show its affect on a subject? Can art capture the space between the viewer and the horizon, and where does that horizon reside now that we can digitally circumnavigate the globe? Can the digital reconcile the physical?

One way that we know how to understand the natural is through the domestic spaces of our daily lives. The interior shelter allows for reflection on what is “outside,” and as a result positions civilization away from the natural. However, as various digital and virtual landscape permeate the domestic space, our notion of what constitutes the natural has become more complicated than a simple inside/outside dichotomy. We use all forms of digital and analog technologies to simulate the natural world daily, and artists in this show point to how these tools affect the ways in which the “realness” of the natural is no longer as simple as locating it outside your window.

This newfound complication highlights the central argument of Notes on a New Nature: our varied notion of what constitutes the natural is shaped by technology, which is a narrative that can be traced all the way back to the advent of agriculture and the dawn of civilization. Through employment of various digital approaches, artists in this exhibition reference this long-standing problem we face when attempting to represent landscape and acknowledge the ways in which digital technology has forever changed our understanding of nature.

Above: Antlers Wifi by Rick Silva

Participating artists include: Duncan Alexander, Mark Beasley, Chris Collins, Petra Cortright, Theo Darst, Marjolijn Dijkman, Paul Flannery, Joe Hamilton (aka Hypergeography), Jan Robert Leegte, Sara Ludy, Garrett Lynch, Michael Ray-Vaughn, Sherwin Rivera Tibayan, Nicolas Sassoon, Rick Silva, Pascual Sisto, Kate Steciw, Wes W Wilson, and Krist Wood.

319 Scholes Brooklyn, NY
November 10 – November 20, 2011
Opening: November 10, 7:00pm – 10:00pm
Gallery hours: Friday and Saturday, 2:00pm – 6:00pm and by appointment

Above: Hypergeography by Joe Hamilton

Above: Strange Situation by Chris Collins

2067 is a net.art work which allows an email to become a time-capsule delivered at a chosen point in the future. The work:

focuses on its consequences : waiting, memory and correspondence but also on the aspect of relativity of our conscience towards time and Others.

It proposes an exploration of the web as a:

working model in process of our univers [sic] in which space, time and memory, as well as the dynamical process of evolution proper to any organism are forming all together a complex system of relations, that is, in fine something one could call an « intelligence ». This very special intelligence might be different from ours regarding to its capacity of organizing its time on a dynamical and parallels ways instead of a chronological one. Plunging into the entrails of an abstract form that possesses our secrets, our desires as well as our relations to the others and therefore is the more acute and useful witness of our social evolution might then be a way – de facto – of plunging into the unknown of our consciousness. We can therefore ask ourselves whether this intelligence would not be able to give us some clues regarding the fundamental questions of human being as a child building his identity reflects ours. The fact of playing with time and correspondence by sending a message in the future is a way of beginning some sort of correspondence in which desire and waiting will play their part and even may be the anguish of an Unknown out of ourselves and therefore out of control.

Via Frédérique Santune.