Two orchestra like projects, one highly polished and the other a work produced as part of a workshop but equally as interesting.
The Computer Orchestra (images above, video below) by Simon de Diesbach, Jonas Lacôte and Laura Perrenoud, students at ECAL (Ecole cantonale d’art de Lausanne) is:
a crowdsourcing platform that allows users to create and conduct their own orchestra. They can choose to upload their own music or download samples to integrate into their formation. With a simple interface, they assign the chosen samples to each post. They can also arrange detection zones, that allow them to order the “musicians” to play, using various gestures. Once their orchestra is configured, they can direct it with the movements of their body.
Neo-Aula (image above, video below) is a interactive sequencer consisting of 25 networked computers and a web based interface to interact with them. This work seems to have been the outcome of a workshop lead by mobilitylab as part of a digital week at the Universite of Vic in Spain.
What’s interesting about both of these projects is seeing a lab of computers within a university as a source of inspiration to create a work. This is most obvious in Neo-Aula which has been subtitled “hacking the classroom”.
IOCOSE’s A Crowded Apocalypse uses crowdsourcing as a means of generating and developing tactics against conspiracy theories. The Italian artists’ group:
has commissioned a series of micro tasks, each of them being almost completely meaningless. However, when put together, the tasks collectively contributed to generate a series of potential paranoias. The results have been commissioned, collected, organised and exhibited by the artist group, showing the result of a process of mechanical and unemotional involvement of the participants in the process of writing and protesting against conspiratory narratives.
One of the works in this series of “micro tasks” or works is How to make a Bomb (view here on YouTube), a step-by-step guide on how to assemble a bomb. The guide is a playlist on YouTube, each step of the guide one of 28 videos hosted on different accounts. Viewed separately the content of each video is harmless or meaningless. Viewed together as the full playlist the videos give a set of lethal instructions that without a doubt would be in breach of YouTube policy (and almost any other online provider) yet as a distributed guide prove difficult to censor and delete.
Beautifully simple work thinking about current browser technologies. If net.art still exists it should be something like this…
A microphone input determines the rate of playback for a sequential set of images. Here, the Wolfe Island Windmills react to the noise of a fan and speed up accordingly. This demonstration was made in Chrome 31 using HTML5 canvas and the getUserMedia() API.
Yesterday I had a chance to see the UBERMORGEN exhibition at Carroll / Fletcher Gallery in London. Not the best exhibition I’ve seen at this gallery, a shame for the gallery who have put on some great shows this year and UBERMORGEN who are interesting artists.
Above: Aram Bartholl’s Wifi router curation/exhibition concept Offline Art exhibiting UBERMORGEN’s net.art.
Above: Deep Horizon by UBERMORGEN.
Above: AnuScan by UBERMORGEN.
The show is a retrospective of sorts of what seems to be about ten years of practice. This is suggested through the exhibition statement; “the Swiss-Austrian-American duo founded in 1999 by lizvlx and Hans Bernhard” and “The exhibition includes two new installations”, however the works aren’t presented very well to give a sense of chronological progression. The first works you encounter when you enter the gallery is the mini-exhibition of net.art on Wi-Fi routers (an exhibition within the exhibition). In these UBERMORGEN’s net.art works, the oldest in the exhibition, have been curated by Aram Bartholl as part of his curation/exhibition concept Offline Art. The idea is interesting because of the presentation but the work itself looks and feels very dated, jarring dramatically with the presentation mode and making it seem as if it’s a gimmick to give extended life to work that would otherwise be less interesting.
Above: CCTV (A Parallel Universe) by UBERMORGEN.
Above: Vladimir by UBERMORGEN.
By far the most interesting works in the show were (V)ote-Auction, “a platform that enabled trading of electoral votes in the presidential race between George W. Bush and Al Gore” and Do You Think That’s Funny? – Snowden Files.
Above: (V)ote-Auction by UBERMORGEN.
The exhibition text in the gallery lacked some of the depth I wanted on the works however the free publication (as a pdf) offered by the gallery is perhaps the most useful text to read. There is also an interesting review of the exhibition on the Furtherfield website.
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.
Above: If these walls could talk
Above: Shutter telegraph (as seen on TV)
Above: Babble, Blabber, Chatter, Gibber, Jabber, Patter, Prattle, Rattle, Yammer, Yada Yada Yada
Above: The wireless way in low visibility (recreation of the first system for non cable transmission, as seen on TV)
Above: Acoustic Radar in Cardboard
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.