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The following interviews were sourced from netpioneers 1.0, a research initiative active from 2007 to 2009 that was devoted to early net-based art, organized by the Ludwig Boltzmann Institute Media.Art.Research. in Linz, Austria. All the interviews were conducted by Dr. Dieter Daniels.
Gene McHugh, Rhizome's former Editorial Fellow and a periodic contributor to the site, received the Creative Capital | Andy Warhol Foundation Arts’ Writers Grant earlier this year and has used these funds to begin the "Post Internet" blog. His project aims to build a space to reflect on "...art responding to an existential condition that may also be described as 'Post Internet'–when the Internet is less a novelty and more a banality. Perhaps this is closer to what Guthrie Lonergan described as 'Internet Aware'–a term that I’m sure I will be thinking through here sooner or later." The blog is essentially a bare-bones workspace for his loose, often train-of-thought musings on contemporary internet-based art, and covers everything from Google's Parisian Love ad to Seth Price.
Long Island City's contemporary art center P.S.1 recently launched Studio Visit - a space for New York area artists to share a "virtual presentation" of their studio with a short artist's statement and bio. Imagine a DIY version of the Selby or Fecal Face's Studio Visits series. Like these sites, it taps into the reader's voyeuristic curiosity to see a side of the artist's process perhaps not immediately apparent in their output. The aim of Studio Visit is to promote visibility for these artists, cultivate a locally focused network and, one would assume, solicit offline studio visits as well. The initiative is in keeping with the institution's past "Greater New York" exhibition, which spotlighted work from emerging New York area artists with great breadth and success. However, like any new website, it looks like they're still sorting out the kinks. It would be helpful if they could add an RSS feed for recent submissions, so visitors don't need to check back to the site. I also noticed that quite a few artists ignored the fields in the submission form requesting photos of the interior and exterior of their studios -- it might be wise to require that as part of the process, especially if showcasing one's studio is a primary purpose of the site.
-- FROM DESCRIPTION OF CEEMAC AND FIRE ORGAN BY DAMIEN CYMBAL
Other CEEMAC Resources
Damien Cymbal's Fire Organ and CEEMAC Resource
A structured graphics language: Ceemac. - Ed Jackson. (Creative Computing, 1983)
Javascript Fire Organ Emulator by Moonmilk
A joint initiative between the University of Illinois at Chicago's College of Engineering and School of Art & Design, the Electronic Visualization Laboratory has long operated as a center for interdisciplinary research in art and computer science. Founded in 1973 by artist Daniel Sandin (creator of the Sandin Image Processor, a crucial tool for video artists in the 1970s) and computer scientist Tom DeFanti (developer of the GRASS programming language), over the years EVL has sponsored pivotal research and development in the field of visualization, resulting in output such as the virtual reality theater CAVE (Cave Automatic Virtual Environment) in 1992, the GeoWall in 2001, Varrier in 1999 and the LambdaTable in 2004.
Admittedly, one day of videos is not enough to cover the breadth of EVL's work from the past 36 years. That said, today we will post selections by EVL's faculty and students from the first decade. These clips capture the playfulness and excitement of their creators, as they experiment with new tools and techniques. All of these videos were sourced from EVL's YouTube account, which includes original work and documentation up to the present day.
Damon Rich would like you to remember that in Old French, "mortgage" means "death vow." This truism rings sadly ironic in the United States where financial crisis has put many people out of their homes and the implosion of the subprime mortgage market has had deeper effects upon the national economy and our international relations. In a show at the MIT Museum, commissioned by the Center for Advanced Visual Studies, called "Red Lines, Death Vows, Foreclosures, Risk Structures," Rich explores the architectural history and financial terrain of the American housing market and the continued impetus toward residential development and unsound design practices. The artist is the founder of the venerable Center for Urban Pedagogy (CUP) collective who work with youth and local community members to address street-level issues through research and remarkable art projects. Rich's penchant for excavating facts, figures, and ideological trends is manifest in the exhibition, which includes new video work, photos, drawings, models, and historical artifacts. Open through December 21st, the show promises to draw a big red line around "the furious circulation of finance capital." - Marisa Olson
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