34 35th St., Unit 26, Brooklyn, NY, 11232
|Current Reblogger: Chloë Bass|
Chloë Bass is an artist, curator and community organizer based in Brooklyn. She is the co-lead organizer for Arts in Bushwick (artsinbushwick.org), which produces the ever-sprawling Bushwick Open Studios, BETA Spaces, and performance festival SITE Fest, which she founded. Recent artistic work has been seen at SCOPE Art Fair, CultureFix, the Bushwick Starr Theater, Figment, and The Last Supper Art Festival, as well as in and around the public spaces of New York City. She has guest lectured at Parsons, the Polytechnic University of Puerto Rico, and Brooklyn College. Other moments have found her co-cheffing Umami: People + Food, a 90 person private supper club; growing plants with Boswyck Farms (boswyckfarms.org); and curating with architecture gallery SUPERFRONT (superfront.org). Chloë holds a BA in Theater Studies from Yale University, and an MFA in Performance and Interactive Media Arts (PIMA) from Brooklyn College.
Wunderbarer Schabernack im Stadtraum: Verfremdete Vogelhäuser in allen Variationen – ein sprayendes, ein fotografierendes, ein tutendes oder ein flammenwerfendes Vogelhaus und zahlreiche “überarbeitete” Stromkästen. Mein Favorit: “The Electric Inn. Find it. Share it. Somewhere in the streets of Stockholm there is an electric box which you can enter to stay warm and dry in. All you need to do is to find it and open it with a beer bottle. If you want to sleep somewhere else, just take it with you and hide it well. But remember: It’s for use in public spaces only.” Unbedingt mal reinschauen: “we are post. installing gadgets to send messages in public space. giving power to the people. converting static settings of your everyday life into buttons you are asked to press. creating little wonders and rumors for urban fairytales. we aren’t street art. we are post.” Via: Mail
April 13th, 2009
Installation artist Shih Chieh Huang transforms spaces with everyday objects. His most recent project “EX-I-09″ currently on show at the Beall Center for Art + Technology focuses on exploring the unusual evolutionary adaptations undertaken by creatures that reside in inhospitable conditions.
Huang creates analogous ecosystems made from common, everyday objects. “I source my wholly synthetic materials from the mundane objects that comprise our modern existence: household appliances, zip ties, water tubes, lights, computer parts, motorized toys and the like. The objects are dissected and disassembled as needed and reconstructed into experimental primitive organisms that reside on the fringes of evolutionary transformation: computer cooling fans are repurposed for locomotion; Tupperware serves as a skeletal framework; guitar tuner rewired to detect sound; and automatic night lights become a sensory input. ”
The exhibition is on till June 6th 2009
guest post by Burstein!
From Carlos Labs comes a fun little applet that gives you Godlike power to nuke anywhere on earth, like the Marina for example, and see the blast radius. You can choose from a 15kt “Little Boy” all the way up to a asteroid impact. Makes me want to grab my cowboy hat a ride into oblivion!
By Chloe Gray on Wednesday, April 22nd, 2009 at 1:00 pm
The date is February 9, 1972, and Chris Burden arrives at Channel 3 Cablevision’s studio in Irvine, California, for an interview with Phyllis Lutjeans. The TV station had approached Burden in January and asked him to do a piece for the channel, yet they censored several of his proposals, so he eventually agreed to an interview during which they would discuss the reasons for the station’s refusal of his ideas. Burden brings his own video crew so that he can have a copy of the interview. He requests that the interview be broadcast live, and during the course of the interview Lutjeans asks Burden to discuss a few pieces that he has thought of doing. The artist responds by demonstrating a TV hijack: he takes Lutjeans hostage, holding a knife to her throat and threatening her life if the station stops transmission, while verbally abusing her with threats. At the end of the recording, Burden destroys the station’s tape of the show by dousing it with acetone. He then offers an “irate” station manager his taped version of the show, which includes footage of the show and the destruction of the station’s tape, but the manager refuses. Burden explains in an interview, “T.V. Hijack was ultimately about who is in control over what's presented through the media.” This aggressive act against the restrictive and one-to-many structure of television is what curator Irene Hofmann cites as her original inspiration for the exhibition "Broadcast," now on view at Pratt Manhattan Gallery. The show presents a selection of works, dating from the 1960s to the present, that interrupt broadcasting systems in order to examine or challenge the structure, influence, and power of mainstream television and radio.
Thanks, again, to Lisa Baldini for reblogging the last couple of weeks! Now we're turning the controls over to James Charles Daher, a Brooklyn-based hybrid media artist. He creates interactive experiences to tell stories. His background bridges graphic design, electronic arts, sculpture & video. Daher received his masters from the Interactive Telecommunications Program at NYU and his BFA from the School of Visual Arts. He is currently an LMCC Swing Space Artist. He'll be captain of the reBlog ship until May 7.
You certainly (and it is even on) already wondered whether it were possible to do something of these old VHS which trail in a corner of your attic. And well yes: it is possible. You can for example transform them into key USB. The video tutorial here, and it of demonstration right in lower part. And yes!
On Sunday i went on a fun tour of the new ARS Electronica Center, they have all sorts of robots, prosthetic limbs, interactive installations, a biolab, a fablab and more geekiness and jaw-dropping exhibitions that i thought one could ever fit in one single building. The one thing i want to write about right now are the kinetic sculptures of Arthur Ganson. I know so little about kinetic art and he's so famous. He even gave this charming TED talk:
Ganson creates Rube Goldberg machines with themes so "existential" that they have been compared to the plays of Samuel Beckett. Absurd would be an easy but inadequate way to describe his sculptures. In spite of their delicate and whimsical aspect, they have the unique power of throwing you into deep thoughts without even you noticing. Here's a couple of them (i used the images and descriptions provided by ars electronica):
Arthur Ganson, Machine with Eggshells. Photo credit: rubra
Machine with Eggshells was born out of the impulse to play and the accidental discovery of the sonic potential of the eggshell. It is both a farcical meditation on the complexity of complex gear ratios and a machine for sending a strange and unique 'Morse code' message to the far reaches of the universe. The rhythm of clicks is based on the ratios of the numbers of teeth on the five main gears multiplied together.
Arthur Ganson, Machine with Concrete (1992)
The speed at which the cogwheels in Machine with Concrete (1992) turn is slowed down by 12 pairs of reductors. The last cogwheel needs two trillion years to complete one rotation. In contrast to this figure, mankind first appeared on Earth only a few million years ago. Whereas the everyday life of modern men and women increasingly seems to be accelerating, changes in the universe take place in time dimensions of billions of years.
Arthur Ganson (US), Machine with 22 Scraps of Paper (# 1 of 5). Photo credit: Chehalis Hegner
Inspired by locks of birds, butterflies or just leaves in the wind, Machine with 22 Scraps of Paper sets scraps of paper in a gentle motion suggestive of birds in flight.
Ganson's machines (please do me a favour and have a look at their videos portrait) are part of an exhibition titled Poetry of Motion. The exhibition also features Eric Dyer's Bellows, the impressive Quarted by Jeff Lieberman and Dan Paluska and the video documentation of contemporary works of kinetic art such as Bernie Lubell's Conservation of Intimacy, an installation i raved about two years ago at the festival, Chico MacMurtrie's Totemobile and Maywa Denki's Tsukuba Series:
And here are my flickr images of the Ars Electronica Center.
It's down to the wire for copyright term extension in Europe: the EuroParl votes tomorrow morning on whether sound recordings are going to get extra decades of copyright. This, after all the actual economic and policy experts have weighed in to say that this won't generate any substantial income for artists (but will put hundreds of millions of euros into the pockets of a few giant record companies), and will doom huge swaths of European musical history to obscurity because no one will be able to figure out who it belongs to, so no one will be able to re-issue it.
Term extension has been a failure around the world. In the US, it's created a disastrous mountain of "orphan works" -- more than 98% of the works in copyright, according to findings from the Supreme Court's hearing of Eldred v Ashcraft -- that can't be brought back to life and will likely disappear before they enter the public domain.
Make no mistake: most artists will receive as little as &Euro;0.50 from this measure, and the major labels that screwed them will get millions. And the public will pay those millions for music that, by all rights, should now be free after having had its full 50 years in copyright.
Some of the particular problems are:
The extension of copyright to 95 or even 70 years will increase the revenue of trust funds of deceased performers instead of living performers.
Many performers cannot produce proof for the performances they participated in during the past decades. It then becomes difficult to assess their rights to payments.
The proposed regulation could cause legal uncertainty for all existing audiovisual productions as it will be unclear if the material used is subject to sound copyright.
There is a risk that all material that is not commercially viable will not be marketed by the copyright owners and will become inaccessible for public use.
Small record companies currently publishing copyright-free material risk going bankrupt.
Europeans: it is never too late to act. Get in touch with your MEP before the vote and let them know you support a sound copyright policy for Europe.
- Europeans: ACT NOW to stop copyright term extension in the EU ...
- How copyright term extension really works -- video rebuts record ...
- Europeans: sign petition now to fight copyright extension for ...
- EU set to extend copyright on sound recordings -- call your MEP ...
- UK culture secretary: "Screw the facts, I'm extending copyright ...
- Proposal to extend Euro copyright, and to force ISPs to spy on ...
Rhett Dashwood, Creative Director based in Melbourn just informed about this interesting project:
Over the course of several months beginning October 2008 to April 2009 I’ve spent some of my spare time between commercial projects searching Google Maps hoping to discover land formations or buildings resembling letter forms. These are the results of my findings limited within the state of Victoria, Australia.
Among other things, I wanted to see if I could make an electronic light feel more human friendly than most, and found rotary controllers are a good way of doing this.
PPE milk bottles make for a cheap yet aesthetically pleasing way to diffuse LED lighting. Especially if you can find nice round ones :)
Modding an object with LED lighting is not only environmentally friendly, but also much more straightforward than building a housing from scratch. Because LEDs are tiny, you can put them almost anywhere, and they don't produce much heat as long as they're spread out and running at the correct voltage.
This instructable will deal mainly with physical design and production, and I'm going to assume you have a basic knowledge of creating electronic circuits and LED lighting. Since the exact LEDs and power supply you use will probably vary, I'll only go into the basics of my circuit in terms of specs. I'll also try to point you to useful resources, and explain more about the Arduino microcontroller and code that tells them to work in sequence.
The electronics of basic LED lighting are really simple, similar to elementary school electronics, so probably won't take long for you to pick up at all.