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I am very excited to be teaching an experimental EPSCOR/NSF-funded course at RISD this semester, along with the ecological designer Bryan Quinn. It’s called Ecocentric Practices:

Marine ducks travel great distances, inhabit multiple ecosystems, and are susceptible to a variety of human-related threats that have likely led to recent and drastic population decline in many species. Working closely with wildlife biologists, emerging technology, and data sets, studio participants will explore alternative methods to communicate ecocentric themes related to marine duck populations through studio work, field observation/study in coastal Rhode Island, and interaction with a diverse group of artists, designers, and scientists.

This studio is open to all mediums and no technical experience is required. However, we will spend time with geospatial systems (such as GIS) and open source tools such as Python and Processing. Theoretical grounding will be provided through readings of key texts in ecology, geography, data visualization, media theory, philosophy, illustration, and a survey of the wide range of artistic and design practices engaged with the biosphere. Students will also utilize to-be-determined hardware capable of collecting scientific data.

Students will work in a workshop-type environment that leverages individual interests. Student projects will encourage public dialogue about marine ducks. Student work will be compiled for a public exhibition at the end of the course.

These photos come from our first field trip, observing ducks on Bold Point and at Sachuest with Peter Paton of URI.

it’s late, and theyre making me write something…

If, as Bifo says, “The idea that the future will be better than the present is not a natural idea, but the imaginary effect of the peculiarity of the bourgeois production model” and yet we have watched the horizon of the future crumble into the network, as (smart) dust, a layer that receives impressions but no deeper, then, (like the songs by YACHT) Utopia and Dystopia are now one, and the old bourgeois production model is over. It has been superseded by consumption on the level of gesture, to ‘like’, to tweet, to vibrate, co-mimesis between body and image, data and action, through reflexivity and recursion. Network protocols have become means of social control. By whom? A central authority? Or by the mass of impassioned churn itself? Is it or is it not self-regulating, a ‘natural’ order like geese optimized in a V for flight? Though I would like to consider myself a cybernetician, I think that self-regulation is also a dream, one of a global capitalism in denial of global climate change. To abandon the future now is dangerous. The present without a future is called feudalism. Material force, consciously strategized or not, undergirds protocological relationships, and it remains political. The body remains at stake, though there are many ways of conceiving of a body. My work has been about exaggerated couplings for the purpose of recognizing networks (e/a)ffects. They are documentary design fictions. They are systems, not objects, that implicate different bodies in relationships where control is subtley present, ambivalent, and mediated by code. It is my body, re-performing its own data exhaust, owning (or haunted) by its encoding. It is an architectural or geographic community, reading and writing its space, but this time fragmented and folded by network conduits. It is an ecosystem in which there are no natural materials, only natural processes, animal technology. But recognition is unsatisfying, I’m still caught. I think I need a new new aesthetic, that eschews hybrid spaces for new wholes. Can we have a new, critical futurism? Like how George Clinton and Kraftwerk, stuck in an elevator together, were forced to communicate via a synthesizer, transmogrifying the space ‘race’, we’re stuck in a gallery with a coyote, an atomic clock, 6 bitcoins and a vinyl lathe. Is it enough to calm the enraged Ohmu? Bring it out and into time, for it is, I believe, a aesthetic of rhythm through which the tomb that is the data center can once again spill into the horizon. If space and time have collapsed, it’s because we’re intent on reifying little diamonds to bury in the desert, like squirrels content to die suspended in either the pleasure or fear of their cache. Let’s abandon the desire for an apocalypse, it already happened. Show me a tempo, not the frenetic arrhythmia of Marinetti’s sex/death machine, but a pulse of true love.

NEW WORK: Eternal Portraits

Facebook uses face recognition software to identify its users in photos. This works via a ‘template’ of your facial features that is created from your profile images. These features — the distance between your eyes, the symmetry of your mouth — generally do not change over time. Unlike a photograph, which captures some ephemeral expression of who you are at a particular moment, a face recognition template forever remains your portrait. It is all possible photos, taken and untaken, by which you, or someone else, might document your life.

These templates are Facebook’s proprietary data. For a brief period in 2013, users could access their template using the “Download a copy of your Facebook data” option in the settings (it is no longer included in the download). The information is unusable in its raw form without knowing the specifics of Facebook’s algorithm. But as an irrevocable corporate byproduct, the future implications of such data remain unclear.

Eternal Portraits is a series of printed and framed face recognition template data from our friends and ourselves.


on view until March 9 at Franklin Street Works

Me and the new thing, getting to know each other. live 12/14 in Providence, experimenting with second version platform, live guitar processing.

Melody lines based on graduates of BFA, MFA, and PhD in the arts programs from 1984-2012.

I am very pleased to announce another show I a curated for XPO gallery to take place in March. Looking very much fwd to this! :))

Rafaël Rozendaal,  2013, everything always everywhere .com website, courtesy XPO Gallery

Wear art on your wrist! A group show on very big and very small screens!

FULL SCREEN celebrates the evolution of the screen in its most extreme developments. Soon screens will disappear from our view and will be replaced by laser light projecting directly on our retina. Pixels in a rectangle will be history as a medium like oil painting as a media technique is history today. Ten internationally renown artists will show screen based art works on a large LED screen and small smart watches at the same time. It’s time to go FULL SCREEN!

Opening March 13, 2014 Save the date!
March 13 – April 4, 2014
XPO gallery, Paris
Curated by Aram Bartholl

Participating artists:
Vincent Broquaire,
Jennifer Chan,
Petra Cortright,
Constant Dullaart,
Oliver Laric,
Sara Ludy,
Raquel Meyers,
Evan Roth,
Rafaël Rozendaal,
Paul Souviron,
Addie Wagenknecht,
Ai Weiwei




I m showing works with DAM Gallery at the new UNPAINTED media art fair in munich coming weekend. On Sunday 1pm I ll be part of a panel discussion about online/offline art. CU there!

“OFFLINE/ONLINE” UNPAINTED talk. A dialogue with Philippe Riss (xpo gallery, Paris), Aram Bartholl (artist, Berlin), Kim Asendorf (artist, Berlin), Rory Blain (s(edition, London), Elizabeth Markevitch (ikono TV, London), Klaus vom Bruch (new media professor)
moderator: Florian Mueck

Jan 17 -20, 2014Munich

ARD Mittagsmagazin

Funkloch fürs Handy selbst basteln.
Immer und überall haben wir das Handy dabei – und immer und überall könnte unser Handy auch abgehört werden. Es sei denn, man bastelt sich sein eigenes Funkloch. Der Künstler Aram Bartholl zeigt, wie einfach es ist. Metallbeschichteten Stoff nehmen, an den Seiten zusammen nähen, Handy rein und zuklappen.

… on at

I’m very excited about the new Multitudes album. We finished it on Christmas — “Blues” is as about as signature as a song as we could have done.

My talk at 30C3 congress in Hamburg last weekend. You can find all recordings of all talks also here Good stuff!