DASH Archives - January 2006

Manfred Mohr
"subsets"B new paintings and animations

Opening Reception:
Thursday, Jan. 19, 2006
bitforms gallery
529 west 20th Street, 2nd floor
6-8 pm

bitforms gallery is pleased to announce its second
solo exhibition with computer art pioneer Manfred
Mohr. His new series of abstract paintings and
animations continue to challenge contemporary
notions of fine art process and form.

The rules of geometry, logic, and mathematics are
fundamental to the custom-authored algorithms which
generate Manfred Mohr's artwork. subsets presents a
body of paintings and animations based on the
11-dimensional hypercube. His algorithms have been
based on the logical structure of cubes, including
the lines, planes and relationships among them since
1973. For the past three decades Mohr has worked
specifically with the n- dimensional hypercube.

The pieces in this exhibition display a subset, or
part, of a complete 11-D hypercube structure that
rotates slowly in eleven dimensions before a green
background. The artist's software selects this
subset of cubes from the 42240 possible cubes within
a 11-D hypercube, and also determines which sides of
each cube are black or white. The artworks are
realized as both unique paintings in pigment-ink on
canvas, and screen-based animations generated
directly from the artists' source code running on a
handmade personal computer.

EXHIBITION DATES: January 19 - February 25, 2006
HOURS: Tuesday-Saturday 11am-6pm, and by appointment

--
.
steve sacks | director
.
bitforms
.
529 west 20th | ny ny 10011 USA
.
+1 212 366 6939
.
tues - sat > 11-6 PM

FOR IMMEDIATE RELEASE


18th STREET CENTER Presents:
*HTTL:// Hacking the Timeline / EZTV, Digilantism and the LA Digital 
Arts Movement
Exhibition of Digital Art in Print, Video and Installation
*Victor Acevedo, Rebecca Allen, Denis Brun, Dave Curlender, Michael 
Dare, Loren Denker David Em, Kit Galloway, Kate Johnson, Tony Longson, 
Robert Lowden, Michael Masucci, Sherrie Rabinowitz, Nina Rota, Carolyn 
Stockbridge, Anneliese Varaldiev,* *Michael Wright

February 4 - April 8, 2006
OPENING RECEPTION: Saturday, February 4, 6-8:30pm


18th Street Arts Center*
*1639 18th St., Santa Monica, CA 90404 Phone 310.453.3711
Email, <_mailto:office@18thstreet.org_>
Web sites, <_http://www.eztvmedia.com/httl.html_>; 
<_http://www.18thstreet.org_>
Hours: Monday -Friday, 10am - 5pm
Please direct e-mail inquiries about the exhibition to the gallery�s 
address (above); NOT the DASH list!
To view formatted version of this announcement online:
<_http://artscenecal.com/Announcements/0106/18thStreet0106.html_>

*_Schedule of Events_:
*ArtNight Opening Event, Saturday, February 4th
4-6pm Artist Presentation with Denis Brun and Michael Masucci
6-8:30pm Opening Reception
7:30pm Performance by Collage Ensemble Inc.

Panel Discussion: Thursday, February 9th
7pm Hacking the Timeline: The Digilante Movement
Michael Wright and Victor Acevedo

Panel Discussion: Saturday, February 11th
2pm Hacking the Timeline: The Untold Story of Digital Art
Moderated by David Plettner with David Em, Peter Frank, Sandra Tsing 
Loh, and Michael Masucci

Panel Discussion: Saturday, April 8th
2pm John Dorr and the Legacy of EZTV
Moderated by Strawn Bovee with Nina Rota and S.A. Griffin

For extended artist bios, more images and full artists� and curator�s 
statement
see: Web sites, <_http://www.eztvmedia.com/httl.html_> or 
<_http://www.18thstreet.org_>

Hacking the Timeline is funded by a grant from the James Irvine Foundation.



It has been said that the widespread adoption of personal computers is 
the most significant single cultural advancement since the invention of 
the printing press, allowing not only for the personalization of 
production, but also for the development of distribution channels which 
cross borders, cultures and time zones. At the present time podcasting, 
�blogs, text messaging, mobile devices and interactive websites 
introduce audiences to artists whom they would have never been offered 
through the traditional gallery or museum community. Based on the 
accomplishments of the last half-century, the last quarter century has 
seen more widespread adoption of ideas, methods and possibilities, 
spearheaded by small clusters of artists around the world from Croatia 
to Germany to Japan to the U.K. Moreover, numerous major technical, 
design and production innovations were originated in California. Los 
Angeles has been a central hub in the history of the desktop digital art 
movement.


By time the 1980s and 90s came about, artist-run spaces such as EZTV and 
Electronic Cafe International (ECI) served as the meeting grounds for 
artists, engineers and intellectuals who dared to see the computer as a 
primary artmaking tool of the 21st century. These spaces combined 
experimentation and exhibition of a wide range of media work, from wall 
art to video projection to live performances utilizing media tools. 
Today, writers, architects, musicians, painters, photographers, 
filmmakers and even sculptors have all gravitated to this notion, one 
not so widely accepted or obvious 25 years ago yet now taken as a given. 
Today digital art is ubiquitous, but its roots are still, all too often, 
invisible.


This exhibition focuses on some of these key individuals involved in the 
creation, advocacy and exhibition of seminal digital art exhibitions 
over the last 25 years in Los Angeles. Many of these shows included 
artists who were among the very first to publicly articulate a unique 
digital and desktop aesthetic. They have served as activists who have 
spearheaded a dialogue between mainstream and experimental artmakers and 
who brought journalists and scholars alike into an awareness of the 
emergence of an international digital culture. From David Em�s 
pioneering experimental artworks created at historical places such as 
Xerox PARC and JPL to EZTV�s development of a desktop video and 
microcinema tradition to ECI�s experiments in telecommunication arts to 
the work of the Digilantes, a term coined by artist/educator Michael 
Wright, who along with Victor Acevedo staged many guerilla style 
exhibitions and became a local force for Los Angeles digital art. Their 
concept of Digilantism, which they not only apply to themselves but also 
to the efforts of places such as EZTV and other artists/activists 
worldwide, best describes an art movement as genuine as Futurism, the 
Arts & Crafts Movement or Hip-Hop.

Michael Masucci, 2006

-----------------------------------------

REMINDER - DEADLINE APPROACHING

The SIGGRAPH 2006 Art Papers
Deadline Jan 27, 2006 5 PM Pacific time

Theoretical papers that deal with contemporary, historical, and conceptual
issues in digital art.

http://www.siggraph.org/s2006
Click Call for Participation - Art Gallery

SIGGRAPH 2006 will be held in Boston, Massachusetts, USA July 30 - Aug 3.

The absolute deadline for submissions is Jan 27, 5:00 Pacific time.

Paul Brown
SIGGRAPH 06 Art Papers Chair

"Intersections", Boston, MA USA
July 30 - August 3
http://www.siggraph.org/s2006
art@siggraph.org

A new book on painting and the computer has been
published in the USA:

James Faure Walker 'Painting the Digital River:
How an Artist Learned to Love the Computer'
Prentice Hall 2006 (ISBN: 0131739026)

"It is a literate and witty attempt to make sense of
the introduction of computer tools into the creation
of art, to understand the issues and the fuss, to
appreciate the people involved and the work they
produce, to know the promise of the new media, as
well as the risks."

The publishers offer a discount at the website:

http://www.pearson-books.com

Enter this voucher code BEFORE selecting any books: BA003A

(As soon as stock arrives in the UK the book can be
ordered online, with 20% discount and free shipping in
Europe.)

 From Oliver Grau:

DEAR COLLEAGUES,

We are happy to announce the new affiliation with improved and 
long term support provided by the department for Cultural Studies 
of the Danube University Krems, Austria, which will assure 
preservation and growth of the Database of Virtual Art.

D V A
As pioneer in the field, the Database of Virtual Art has been 
documenting the rapidly evolving field of digital installation 
art since 1999. It is supported by the German Research Foundation 
and various other institutions. Our research-oriented, complex 
overview of immersive, interactive, telematic and genetic art has 
been developed in cooperation with renowned media artists, 
researchers and institutions. The database is based on 
open-source-technologies and allows individuals to post material 
themselves. Currently it contains hundreds of work descriptions 
including several thousand digital documents, videos, technical 
data, institutions and bio-bibliographical information. As one of 
the richest resources online, with a freshly implemented 
scientific Thesaurus the database responds to the demands of the 
field.

www.virtualart.at

We encourage your remarks and suggestions!


DANUBE UNIVERSITY KREMS (DUK)
The cultural studies department in Krems contains, in addition to 
the program in image science, contains also film, contemporary 
music and intercultural studies programs - so that the approach 
is already multimedial, like the subject of Media Art History. 
With our international faculty members we will continue offering 
new global programs in the field of media art, collection, 
curation, preservation and image management.

Center for Image Sciences:  www.donau-uni.ac.at/cis

DUK NEWSLETTER: http://www.donau-uni.ac.at/zbw/engnewsletter

PERFECT COMBINATION
Beside the Database of Virtual Art -  the Goettweig Print 
Collection (collection database online soon), which contains 
30.000 original prints from Renaissance to Barock until now, 
allows in-depth research into its large resources. We are glad to 
report that Danube University is able to provide our field soon 
with an open archive contextualizing media art in art and image 
history.

NEW ADVISORY BOARD
At the same time, we are also excited to inform the field of 
researchers, artists, scholars, students who have found the 
database a value to their studies, that we have a newly formed 
advisory board who will help guide the Database of Virtual Art in 
the future.  Their contributions to the field and their 
importance to the ongoing developments of media art as the art of 
our times needs no introduction, but further biographical can be 
found under:

http://www.virtualart.at/common/advisoryBoard.do

We welcome Roy ASCOTT, Beryl GRAHAM, Erkki HUHTAMO, Jorge LA 
FERLA, Gunalan NADARAJAN, Christiane PAUL, Martin ROTH, and Steve 
WILSON as advisors to the Database of Virtual Art.


Problems veiwing the streaming videos?
Windows: Click Start>Settings>Control Panels>QuickTime
Mac: Click Apple Menus>Control Panels>QuickTime Settings
-- choose: streaming transport - http - port 80

ISEA2006 Symposium Call for Participation for Papers and 
Presentations

DEADLINE EXTENDED TO JANUARY 30TH, 2006

  Important Notice: We listen. There has been considerable 
feedback that the
original Symposium call did not clearly include a call for Panel 
proposals.
We have revised the call so that proposals for practice-based 
panels are
encouraged. The deadline for submission of proposals for ISEA2006 
papers,
artist presentations and posters has been extended to January 
30th to
accommodate this change. Please note updates to the Symposium Call
description.   

 http://isea2006.sjsu.edu/symposiumcall/

  ISEA2006 seeks paper and presentation proposals responding to the
Symposium themes of Transvergence, Interactive City, Community 
Domain or
Pacific Rim. This is the only call for papers and presentations 
that there
will be for ISEA2006.

  What tactics, issues and conceptual practices expose or inform the
distinctions of these subject terrains relating to contemporary art
practice? What theoretical analyses illuminate art practice 
engaged with
new technical and conceptual forms, functions and disciplines; 
provide for
innovative strategies involving urbanity, mobility, community and 
locality;
examine the role of corporations, civic cultural organizations 
and their
relationship to strategic planning; serve to expose new portals of
production and experience; and provide for provocative analysis of
contemporary political and economic conditions?

  The ISEA2006 Symposium is discussion and conversation based. This
orientation is intended as a break from the tradition of reading 
academic
papers and the formalities of panels and is the result of a 
month-long
online discussion with 21 international participants (see list 
below). All
sessions are moderated, include respondents and are designed to 
encourage
audience participation. Session formats will emphasize 
questioning, debate
and provocation. Papers, abstracts and poster texts will be 
pre-published
on the web and in print. There will be a pre-symposium online 
public forum
designed to encourage interaction between symposium presenters 
and the
public to provide for discussion and debate.

We are seeking proposals for papers, artist and poster sessions.

 From fibreculture courtesy of George Lessard:

-----------------------------------------------
Paik, pioneer of video art, dead at 74

[excerpt]

   Nam June Paik, the Korean-born artist and composer regarded
as the inventor of video art, died Sunday of natural causes
at his Miami home. He was 74.

Paik is thought to have coined the terms "information
superhighway" and "the future is now," as well as having
global influence with his work.

Paik's art combined the use of music, video images and
sculptures in a way that set the style for future video artists.

"Paik's work would have a profound and sustained impact on
the media culture of the late 20th century; his remarkable
career witnessed and influenced the redefinition of broadcast
television and transformation of video into an artist's
medium," John Hanhardt, media arts curator at New York's
Guggenheim Museum of Art, said in a statement.

"Through a vast array of installations, videotapes, global
television productions, films, and performances, Paik has
reshaped our perceptions of the temporal image in contemporary
art," Hanhardt added.

http://www.cbc.ca/story/arts/national/2006/01/30/paik-obit.html
      -----------------------------------------------

http://www.paikstudios.com/

*Celebrating 40 Years of Leonardo*

*Leonardo and Leonardo Music Journal Archives Now Available on JSTOR*

 

At the age of 40, Leonardo Da Vinci was living in Milan and just 
beginning to hit his stride. He was dreaming of creating “The Gran 
Cavallo” and the painting of “The Last Supper” was soon to be commissioned.

 

On the eve of its 40^th anniversary, Leonardo/ISAST, like its namesake, 
is hitting its stride. The new Leonardos in our network are busy 
creating the new art forms of our age. To promote and document the work 
of these artists, Leonardo/ISAST publishes several journals and a book 
series, co-sponsors conferences and events, sponsors an award program 
and collaborates with dozens of other like-minded organizations around 
the world.


Forty years ago Roy Ascott was working on his text “The Cybernetic 
Stance,” David Bohm was writing “On Creativity,” L. Alcopley was 
preparing his interview with Edgar Varese, and C.H. Waddington was 
writing “New Visions of the World.” These texts, along with those 
written by Richard Land, Frank Malina and others established the first 
volume of the Leonardo library.

 

We are happy to announce that these articles, along with thousands of 
other /Leonardo/ and /Leonardo Music Journal/ texts by artists and 
researchers around the world working at the intersection of the arts, 
sciences and technology, are now available through the JSTOR Arts & 
Sciences III Collection. Current /Leonardo/ and /Leonardo Music Journal/ 
subscribers can now search, browse, view, and print full-text PDF 
versions of the JSTOR collection for an additional $25 annual access 
fee. Contact MIT Press at journals-orders@mit.edu 
 to set up your access today. The JSTOR 
Arts and Sciences III Collection is also available to users at 
participating institutions. To find out if the university or other 
institution you are affiliated with has access to /Leonardo/ and 
/Leonardo Music Journal/ through JSTOR visit: http://www.jstor.org 
.

 

For a list of current Leonardo/ISAST events and activities, visit: 
http://www.leonardo.info 

 

NODE.London - States of Interdependence

A collaborative text written by Marc Garrett and Ruth Catlow, for "Media 
Mutandis: A Node.London Reader" (to be published in February 2006)

There is a Sufi fable in which a group of foreigners sit at breakfast, 
excitedly discussing their previous night’s exploration. One starts 
saying “…and what about that great beast we came across in the darkest 
part of the Jungle? It was like a massive, rough wall.” The others look 
perplexed. “No it wasn’t!” says one, “It was some kind of python”. 
“Yeah…” another half-agrees, “…but it also had powerful wings”. The 
shortest of the group looks bemused- “well it felt like a tree trunk to me.”

This fable aptly illustrates many aspects of the NODE.London experience. 
The name, which stands for Networked Open Distributed Events in London, 
indicates the open, lateral structure adopted to develop a season of 
media arts. It is intentionally extensible, suggesting possible future 
NODE(s), Rio, Moscow, Mumbai etc. As participants/instigators in the 
project’s ongoing conceptualization and praxis, we are just two 
individuals positioned on the interlaced, scale-free networks of NODE.L 
(more on these later). As such, our descriptions of this collectively 
authored project are inevitably incomplete and contestable, with a 
complete picture emerging only in negotiation with others.

Scale-free networks such as the network of Nodes are constantly adopted 
by NODE.L’s to facilitate the emergence of a grass roots media arts 
culture in London and in building its own organisational and 
communication structure. The Internet is a scale-free network. 
Scale-free networks are described by scientists as maintaining their 
levels of connectivity regardless of their size. They do this by linking 
small ‘clusters’ of locally networked nodes to more massively linked 
hubs, which are in turn connected to each other. Theoretically this 
allows one to link from one node on a local cluster to another distant, 
local node with just a couple of steps through the hubs. This creates 
the “small world” phenomena whereby anyone on the network is felt to be 
close to any other as well as to the centre.

To read more of the article visit Mazine:
http://www.mazine.ws/NODE.L_Interdependence.

------------------->

More bout NODE.London:
NODE.London [Networked, Open, Distributed, Events. London] is committed 
to building the infrastructure and raising the visibility of media arts 
practice in London. Working on an open, collaborative basis, NODE.London 
will culminate, in its first year, in a month long season of media arts 
projects across London in March 2006. http://nodel.org/

Media Mutandis:  A NODE.London Reader:
A survey of media arts, technologies and politics which aims to provide 
a critical context for NODE.London's activities as an evolving media 
arts production and infrastructure-building project. A 1000 publications 
will be printed initially and sold at a low price at the events of the 
March season. Contributing authors and artists include:  Armin Medosch, 
Simon Yuill and Chad McCail, Adam Hyde, Sabeth Buchmann, Ruth Catlow and 
Marc Garrett, Michael Corris, Matthew Fuller, Graham Harwood/Mongrel, 
Richard Barbrook and Neil Cummings.
 
The publication is engineerd via the Print On Demand system by 
NODE.London partner OpenMute. It will be available as a printed and 
bound volume, a PDF document on the publication website (url tbc) and 
the texts will be made available in formatted versions individually for 
editing and recompilation by readers, who can either order a printed and 
bound version of their selections through Print On Demand or simply 
print them off at home. Readers can also become 'agents,' or 
distributors - please see www.metamute.org for a fuller explanation of 
the magic potential of POD.