Theory flash back

Theory Flash Back

1. from...........

- M. McLouhan, “medium is the message”
- M. Castells, “the message is the applications of the medium”
- P. Virilio, The Information Bomb
- S. Sassen, “Global Networks – Linked cities”
- H. Bey, “The information War” – TAZ The Temporary Autonomous Zone”
2. to...............
- Lev Manovich. (2001) The Language of New Media, MIT press.
Human culture has been re-recording intellectual and optical world using digital data that lead to the formulation of digital databases; of sums of digital data. These databases are the output of this whole procedure but also become the basis of any further negotiation.
-Regis Debray
, "What is mediology".
"What is mediology", http://www.monde-diplomatique.fr/1999/08/DEBRAY/12314
"The question that rises seems to be not the way that media affect culture but the interaction between culture and new media."
"...mediology does not claim the status of a science, and even less something "new" (because it is not in itself a discovery). Despite its root, mediology is not a sociology of media systems under another name. Mediology would like to bring to light the function of medium in all its forms, over a long time span (since the birth of writing), and without becoming obsessed by today's media."
"It is still the fuzzy zone of interactions between technology and culture, or the interferences between our technologies of memorizing, transmission, and displacement, on the one hand, and our modes of belief, thought, and organization, on the other."
"Our interest, then, does not concern an object nor an area of the real (e.g., the media), but the relationship between these objects or these areas."
"The field of functional correlations is broad and various. One can stick to the interaction within a system [intrasystème]….. interaction between systems [intersystème]…..(and) the interactions across systems [transsystèmes]."

Tools affecting structures.(in both of theory and practice)
-Common Codes 0,1

-Digitalization , analogue media transform to discrete data
-Software, algorithms, recorded actions (!)
-Narrative Databases, Dynamic output
3b. in terms of Semiotics:
---output is not a Dyadic Sign ( Signifier - Signified ), F. Saussure
---output is a (dynamic)Triadic Sign (Object - Representamen - Interpretant), M. Pierce

- Object (Object, Concept, Idea) Sth that can be encoded in a sign
- Representamen , the sign that denotes the object (Saussure's Signifier)
- Interpretant , the meaning obtained by decoding the sign
-immediate, the denotative meaning
-dynamical, the meaning actually produced by the sign
-final,the meaning produced if the sign were properly understood

Possibility of algorithm improvisation! Curatorial Suggestion.

Algorithms are designed in order to work as specific mechanisms that reproduce specific tasks using the numerical codes. The way that they proceed with the tasks is predefined and scheduled. The mechanism they suggest is dynamic but stable. The algorithmic formulations are specific and possible to lead to multiple narratives via exploring the database.
How would be the possibility of an algorithm that would be designed in an “unconventional” way; of an algorithm that would be scheduled to alter its structure; to interfere into its own function? That would mean that the input of the software would get through a possibly unpredictable procedure with unpredictable output. The possible products would form a new idea of databases and moreover of narratives. It would be a different kind of data processing in which data would acquire a new identity. A new data status where data output might be itself a narrative; a correspondence to the software decision of acting

Birdhouse Effect - Creating (virtual) places / spaces

Argleton Event from marvar on Vimeo.
Birdhouse effect deal with the production of innovative artistic events networks in virtual environments. Bending the traditional rules of institutional organizations we seek to blend different layers of reality and bring people together in a new spacetime context.


Kernel - modular Platform

KERNEL functions as a platform for art research, creation and curation, based on the concepts of modularity and potentiality.


Pixelville - sculptoring and digital

Pixelville is the collaborative project of the sculptor Nivi Alroy and new media artist Shirley Shor. As Israeli women close in age, Alroy and Shor share many experiences and observations, but discovered their common aesthetic and social purpose only recently, once both had relocated to New York.

Barmecidal Projects - digital 3D gallery

FREE 4 ALL from Barmecidal Projects on Vimeo.

BAR·ME·CID·AL: providing only the illusion of abundance; illusory or imaginary and therefore disappointing.

Barmecidal Projects Gallery is an entirely digital 3D gallery. The goal of BPG is to place immaterial artworks within the more phenomenological context of a gallery space and to curate them within the digital realm.
Our objective is to bring together artists working in digital and immaterial forms. Digitally created works existing in the space are rendered in high-gloss, hyperrealistic fashion. Having these objects exist in the gallery space further blurs the boundaries between the Real and representation; the works will be so shiny and irresistible by virtue of their digital nature that they will supersede reality.



Raqs Collective II - OPUS - networking...

OPUS(Open Platform for Unlimited Signification, 2001 seeks to build a creative commons with a community of media practitioners, artists, authors and the public from all over the world. Here people can present their own work and make it open for transformation, besides intervening and transforming the work of others by bringing in new materials, practices and insights. The Discussion forums are there to open out the works to comments and reflections. Opus follows the same rules as those that operate in all free software communities - i.e. the freedom to view, to download, to modify and to redistribute. The source(code), in this case the video, image, sound or text, is free to use, to edit and to redistribute.



Jeffrey Shaw - 3Dizing algs'

Web of life , 2002

The audio-visual environment “Web of Life” is formed by an immersive conjunction of projected three-dimensional computer graphic and video images, together with a fully spatialized acoustic experience and a specially conceived architectural surrounding. The visitor interactively influences the performance of the audio-visual environment by imparting to it the unique patterns of his individual hand lines, thus giving symbolic and experiential expression to the action of connecting oneself to an emergent network of relations.
The interactive installation is configured as a distributed network of installations – one large-scale environment situated permanently at the ZKM Center for Art and Media Karlsruhe, and four others designed to travel to various locations.

George Lebrady - visualizing algorithms

(2007). Full wall projection.

“Blink” consists of a matrix of eyes that open and close based on their neighbor’s behaviors. Each eye's decision is dependent on statistically evaluating what its neighbor eyes are doing, dynamically calculated in realtime. The process goes back and forth between states of stability where all eyes try to be like their neighbors, and states of transitional disruption where the eyes look at their neighbors but cant fully decide if they should be like them or not. The status of the overall image at any given moment in time is a consequence of the various stages of each eyes’ individual behaviors, and therefore guarantees a statistically extreme low possibility that the image will fully repeat itself. watch the animation here : www.mat.ucsb.edu

Algorithmic 1 (01-004), 2004, Pigment print on Hahnemuhl paper.

Algorithm's portraits

Through 2006 and 2007, Eva and Franco Mattes created portraits of avatars, i.e. the customizable personas that people inhabit in online virtual worlds. Addressing the new online environments as places to socialize, nurture celebrity, and perhaps leave one's real self behind, these images capture members of the popular online virtual world Second Life, combining the traditions of glamour photography with the brilliant colors and hard-line aesthetics of the game-world...

VUK COSIC - re(de)coding narratives

Vuk Ćosić (born July 31, 1966 in Belgrade) is one of the original net.artists and is the person that coined the term net.art. He is best known for ASCII experiments (1996-2001). Most notable work is ascii remix of porn movie Deep Throat. (www.wikipedia.org ). watch the video at www1.zkm.de


MOUCHETTE...building a persona

What is the best way to kill yourself when you're under 13?


originally ..... Mouchette is a 1967 French film directed by Robert Bresson.It is based on the novel by Georges Bernanos. "Mouchette" means "little fly" in French. According to Bresson, "Mouchette offers evidence of misery and cruelty. She is found everywhere: wars, concentration camps, tortures, assassinations." Despite the abject wretchedness experienced by the title character, the film, through Bresson's "flat" direction of his non-actors and rhythm created through editing and shot design, raises Mouchette to a kind of sainthood and achieves a spiritual catharsis for the viewer as in the best tragedies. http://en.wikipedia.org/wiki/Mouchette

Mouchette in the Museum, 2007

Jennifer and Kevin McCoy - editing databases

"Every Shot / Every Episode" is the first in our series of T.V. database projects. It is a collection of 10,000 shots from the Starsky and Hutch T.V. series arranged by descriptive category. Viewers can play each category by putting a disk in the player. http://www.flickr.com/photos/mccoyspace

Mark Napier - synchronized models.....

"In Smoke, a generative software installation projected on the gallery wall, the Empire State Building appears to soften and melt, writhing almost organically, then struggle to return to it's original form. Teetering on the line between organism and architecture, Smoke speaks to a morphological tension between static physical structures of power and those that are information-based" www.potatoland.org

Smoke, 2007. www.bitforms.com

Cyclops Bride, 2006. www.potatoland.org



Matrix. It all is about a code structure. Deja vu is a system false.

In mathematics and computer science, a matrix is a set of numbers laid out in tabular form (in rows and columns). From this meaning, a less formal meaning is derived of a complex of lines intersecting at right angles...In cyberculture, the Internet and other networks that flow into it are altogether sometimes called "the matrix." In Neuromancer," the matrix" is a vast sea of computing resources that can be visualized by the user, is accessible at many levels, and is lit up more intensely in the areas of greatest activity. The hero, Case, "jacks in" to the matrix through wiring that is (perhaps, since it's not entirely clear) integrated with his brain and explores the matrix with a "deck" or computer console that provides a holographic view. whatis.techtarget.com

Andreas Angelidakis.......... back and forward with media

Alexei Shulgin.................algs' structuring form

"Form Art", 1997.

A project consisting entirely of HTML codes, with metaframes (formative elements) slipping in as part of the contents. Shulgin launched the Form Art competition with this work and the hints at a new art movement implied. http://www.ntticc.or.jp


Baily, Corby & Mackenzie .... kind of there

Gavin Baily, Tom Corby and Jonathan Mackenzie have been working together for over 10 years, through an art practice that explores the intersections of complex systems, technology and information. 

Tom Corby, Die Text, 2005
die.txt is a bio-engineered text editor. As the user types, individual words spawn outgrowths of alternative meanings and definitions. These metonyms are sucked from Wordnet, a lexical reference system developed by Princeton University.
Using a metaphor derived from medical research into skin-cancer simulations, the letter forms are generated by 'cellular growth', each character having a particular cell-division encoding. The sentences of newly created metonyms grow 'cancerously' from cells in the original text.

Reconnoitre, 1997-1999
Reconnoitre was part of a series of works concerned with our experience of the network as a bizarre_scape; an environment with a high metabolism whose boundaries are continuously re-shaped; accreting and thickening under the influence of powerful social and commercial forces.
While Reconnoitre can be considered as a browser in that it allows the user to search for and access web sites, it is less concerned with the coherent display of information as with representing browsing as a behavioural activity.
Probably best described as a dysfunctional browser it seeks to enunciate our consumption of information as a journey of surprise, that seeks to reinstate the pleasure of browsing as technologically experienced dérive (drift) in its own right -an ambient grazing of text.

Nikos Alexiou - The End / incorporating algorithm representation

Nikos Alexiou - The End, 2007


Olia Lialina.......one of net.art pioneers.

"My boyfriend came back from the war", 1996
Supposedly the first Net art piece that moved people to tears...The artist has made a sequel, as well as text, VRML and blog versions of "My boyfriend...", which also functions as an archive of related works developed by a large number of artists.

Jodi.org - Code intervention

Second Life ART


Yanz Decuir @ Joseph Beuys' 7000 Oaks
Synthetic Performances by Eva and Franco Mattes
A series of reenactments of historical performances inside synthetic worlds such as Second Life.

Miltos Manetas - In between media


A Few Things I Know about Neen

Neen stands for Neenstars: a still-undefined generation of visual artists. Some of them belong to the contemporary art world; others are software creators, web designers, and video game directors or animators.

Our official theories about reality—quantum physics, etc.—proved that the taste of our life is the taste of a simulation. Machines help us feel comfortable with this condition: they simulate the simulation we call Nature. Opening the door of your room or clicking on a folder on your computer's desktop will send you to similar destinations—two versions of reality that are seemingly perfect and dense, but they will start dissolving after you analyze them.

Computing is to Neen as what fantasy was to surrealism and freedom to communism. It creates its context, but it can also be postponed. Neenstars buy the newest products and they study how to create momentum. They glorify machines, but they get easily bored with them. Sometimes they prefer just watching others operating them. Neenstars find their pleasure in the in-between actions. Neen is about losing time on different operating systems.

If fantasy brought surrealists to the ridiculous and revolution drove communists to failure, it will be curious to observe where computing will bring Neen.


Angelo Plessas - relating to the algorithm