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In Tangible Form - 2012
On display at the Urban Arts Space - Columbus, OH:
May 29 - June 9
Closing Reception - Sat. June 9th 6-8PM -
Blocky →
This is a web-based visual programming language prototype. It might be helpful to see out statements you were already using in Javascript fit together as blocks. The structure is the same: conditionals, loops, etc. You can create a program and then export it as Javascript, Dart, or Python.
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Columbus BYOB →
I mentioned this in class, but now here are some photos from BYOB Columbus, which took place earlier this year.
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Omer Fast CNN Concatenated (2002)
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The full piece is being shown currently at the Wexner. His mashed CNN clips provide a rather confrontational experience, especially within a typical living room setting at the Wex. Great stuff…go!
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Like JODI I too like to think of online artworks as sharing traits with performative art, as if the computers on the network are actively mediating the users experience in a manner that I designed and set to work, but have no final control over. As if I instructed an actor to go out into the streets and converse with strangers in a semi scripted manner. Most of my online works involve a sequence of actions that take place mostly within a personal atmosphere (at home or in an office cubicle) on a computer. And these activities function clearly and inseparably within a larger social and technical context (the rest of the internet), mostly within a short period of time where the technical options were available for these works to exist. Next to this my physical relationship to this ever evolving technical medium landscape interests me. What is my position in this whole thing, am i just an active user that is slaving away regurgitating content through these brave new media, or am I seeing myself, my online representation as material to perform with? And how does my body actually relate to all of this dissociation juggling? Can I humanize this perfectly designed fake neutral corporate online space? And what is my position in this social commodification process?
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Jan Dibbets, Perspective Correction (1968)
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Recently, Art21 held their own artist-led telethon. Hosted by Ronnie Bass, who had explored the format in 2007 in order to raise funds for his Performa TV piece, the event came to be after the NEA cut funding to the PBS art documentary program. Artists replaced entertainers to create some nine hours of durational broadcast performance streaming from Algus Greenspon Gallery to the Art21 site. It was telethon to its core, making up what it lacked in big-production finesse with performative sincerity, intimacy, and palpable camaraderie.
The telethon as a fundraiser makes less viable sense today: crowd-funding options are less time-consuming and presentation-intensive. What remains is its value as a style: the telethon as an experience that fills time with performance, and an endurance event in service of an objective.
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1MB ZIP Group show →
“It must be downloaded” show to celebrate FA-G’s 1st anniversary.
Throughout the quarter, we’ve discussed various ways of experiencing and distributing internet based art. We talked about image formats, but didn’t directly discuss other file formats that could be used for distribution. The zip file is enigmatic. We do not know what it contains. This can cause fear or paranoia (is it a virus? is it going to work on my computer?). It can also be exciting and alluring. There is no preview: in order to see the contents, we must download and extract it.
