1. Liminaria 2014: tracking borders

    15:23

    from Leandro Pisano / Added

    179 Plays / / 0 Comments

    Liminaria aims at narrating the territory of Fortore, a marginal rural region located in the South of Italy, through an artistic point of view, putting together the ability of digital storytelling and the approach of different disciplines (literature, sociology, aesthetics, anthropology) and different fields of investigations (design, oenogastronomy). Liminaria is a platform in which stories of places, people and landscapes come together through the hybridization and the convergence of modalities, languages and tools (sound, video, photography and literature). Liminaria looks at creating a narrative that will give a new perspective to cultural, social, natural, architectural and landscape elements of the land, by having local communities teaming up with artists, curators, researcher, writers, and specialists of new technology. Editing, postproduction, camera: Antonello Carbone Storyboard: Leandro Pisano Translation (ENG/ITA): Annalia Palma

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    • Computers Watching Movies (Exhibition Cut)

      15:10

      from benjamin grosser / Added

      72.4K Plays / / 3 Comments

      Benjamin Grosser Computers Watching Movies 2013 computationally-produced HD video with stereo audio Computers Watching Movies shows what a computational system sees when it watches the same films that we do. The work illustrates this vision as a series of temporal sketches, where the sketching process is presented in synchronized time with the audio from the original clip. Viewers are provoked to ask how computer vision differs from their own human vision, and what that difference reveals about our culturally-developed ways of looking. Why do we watch what we watch when we watch it? Will a system without our sense of narrative or historical patterns of vision watch the same things? Computers Watching Movies was computationally produced using software written by the artist. This software uses computer vision algorithms and artificial intelligence routines to give the system some degree of agency, allowing it to decide what it watches and what it does not. Six well-known clips from popular films are used in the work, enabling many viewers to draw upon their own visual memory of a scene when they watch it. The scenes are from the following movies: 2001: A Space Odyssey, American Beauty, Inception, Taxi Driver, The Matrix, and Annie Hall. This version was first exhibited as a large-scale video installation during the University of Illinois 2013 MFA Thesis Exhibition, Krannert Art Museum, Champaign, IL, April 11-28, 2013. http://bengrosser.com/projects/computers-watching-movies/

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      • Fish Poems: Documentation from the Installations

        15:08

        from Jorge Boehringer / Added

        65 Plays / / 0 Comments

        A step behind the waterfall grants access to the alien birdbath. Being stung by two bees twice in two days is lucky if I say it is. This is a short film that attempts to capture or re-create something of the feel of the four installations that were part of Jorge Boehringer's exhibition Fish Poems at the Titanik Gallery in Turku, Finland. From Titanik's website (http://www.titanik.fi/jorge-boehringer-fish-poems/) Näyttelyni tiivistää suuria etäisyyksiä ja toisaalta asettaa pieniä asioita suurennuslasin alle. Muutamat kokemukset irtoavat ajasta ja toiset taas laajenevat jatkuvaksi läsnäoloksi. Yritän ymmärtää joitakin havaintokykyni puolia. Korvaan, abstrahoin ja muovaan havaittuja asioita tai havaittuja tapahtumaketjuja elektronisilla toisinnoilla ja edelleen rinnastan niitä keskenään uusiksi kokonaisuuksiksi. This exhibition simultaneously compresses large distances and magnifies small things. It takes some experiences out of time and expands others into a continuous now. I am attempting to understand some aspects of my perception by replacing the perceived object with electronic simulacra, or by abstracting and modeling those perceived systems of events, and juxtaposing them into new configurations. Jorge Boehringer on amerikkalainen säveltäjä, muusikko, taiteilija. Suurien ja pienien pintojen tutkija. Boehringer luo performansseja, äänityksiä, installaatioita, moniulotteisia esineitä ja visuaalisia ilmiöitä. Beohringerin työt tarjoavat erilaisia kokemuksia ja palasia todellisuudesta. “Multiple systems of events, appearing and disappearing, and evolving at their own rates.” on lause jota hän tykkää käyttää toidensä kuvailuun. Jorge viettää kaksi kuukautta Titanik A.i.R. -residenssissä Jorge Boehringer is an composer, artist, musician, and researcher exploring large scale landscapes and microscopic layers of process and form and how they interact with perceptual experience. Utilizing a protean platform for experimentation and presentation, Boehringer creates performances, recordings, music, installations, texts, three-dimensional objects, and visual phenomena. Inspired by, and at times modeled after observed environmental processes and structures Boehringer’s work offers an experience of reality presented as a textural field. “Multiple systems of events, appearing and disappearing, and evolving at their own rates…” is a phase Boehringer uses to describe both the material world and our experiences of it. Structures and processes which, when apprehended from diverse frames of reference or differing orders of magnitude, offer the experience of multiple states of complexity, creating the presence of the world before us. Through the use of immersive sound and visual environments, as well those small, silent, and/or singular, which are only noticeable through single points of focused perception, or which may be so tentative as to barely exist at all, an opportunity to explore shifts in one’s awareness is offered. Continuous sound of long duration, changing densities across time and space, repetition and layering, and on the other hand, chaotic aperiodicity are used by Boehringer to provoke a phenomenological ripple in the moment of experience of his works. Simplicity and complexity wink and one another, and trade places. Boehringer is also known on occasion to make drawings of alien-cyborg bunny rabbits, sculptures out of tape and light bulbs, and write songs either about animals, or with mystical texts. http://www.multiplesystemsofevents.wordpress.com

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        • per/

          14:46

          from Narayana Takacs / Added

          48 Plays / / 0 Comments

          dance miniature - choreographic installation melbourne fringe festival 2009 performed by hannah glennie, alexandra frith and narayana takacs

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          • New Media Art

            14:42

            from MAT, QMUL / Added

            An arts documentary which explores the way New Media Art uses technology to create a new form of interactive art that enhances social collaboration. Production Team: Antonella Mazzoni and Emma Bevan

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            • Think Indifferent

              14:20

              from Franz Milec / Added

              73 Plays / / 0 Comments

              First and foremost, Think Indifferent was a formal and structural experiment. Rather than look for big new ideas, its aim was to find a new way in which an artwork could be assembled and presented. I wanted to transfer the process of creating a compilation documentary to a different medium — YouTube. Instead of downloading the videos and editing them in the old-fashioned software way, I decided to use its cloud parallel — a playlist — that way using the possibilities (and annoyances) inherent to the medium and not infringing the copyright. The artwork’s subject works with the concept of consumer fetishism and brainwash-like qualities of the advertising — after noticing similar patterns in the user-generated unboxing videos of Apple products, the idea was to put them into such context that would highlight the ritualistic behavior of the users. What followed was a research on how they connect to the fetish Apple creates out of its products using advertising and introduction conferences, alluding to the practices of religion and cult, e.g. Steve Jobs echoing “an iPod, a phone, an internet device” reminding of “the Father, the Son, and the Holy Ghost” or Jony Ive calling the iPad magical. This resulted in a playlist assembled in such a way that would resemble of a mass — with an opening prayer, a sermon, a ritual, and a closing prayer. Once the playlist was created, a question remained: how should it be viewed? Traditional screening didn’t seem appropriate but, fortunately, the CAS tower with its four iMacs provided a great environment to develop a unique, site-specfic viewing experience built upon the mass structure. The process went as follows: after entering the room, the participants were welcomed by a Mac voice telling them to divide and sit down in front of the iMacs. The room was then locked and they were given these instructions: 1. You can’t pause the video but you can skip the advertisement. 2. Don’t talk to each other. 3. You're free to leave the room but you’re not allowed to return. 4. Enjoy yourselves. 5. Think different. Then they were asked to play the playlist. Once finished, the Mac voice thanked the users and reminded them to never stop thinking what Steve Jobs would do. ** Results of the experiment: 1. What worked was creating an unusual situation — a paradoxical viewing that’s intended for a mass and yet it’s individual. It could be seen as one of possible interpretations for Lev Manovich’s vision of multiple-window cinema. 2. One of the shortcomings was that the concept of using a playlist like an editing software didn’t always work, especially when there was a need of a clash between the single “shots” and instead there was either a loading delay or an advertisement started playing. However, the ads popping up and each participant pressing play at different times produced a strange soundscape with echo of singular phrases, thus reaffirming what has been said. 3. The subjects complained that the rhetoric of the work didn’t say anything new and only recycled old ideas. Nonetheless, using a rhetoric was secondary. 4. The most striking outcome of this was only one participant not willing to continue playing the video after the initial Thin Different ad — therefore actually “thinking different." 5. What would be interesting to see if/when repeating this experiment is the reversal of the roles of a presenter and participants — giving one participant the opportunity to conduct and observe four performers in this kind of ritualistic behavior and create a kind of theatre piece with one person as an audience.

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              • Yesim Ozsoy Gulan ile Roportaj

                13:43

                from duygu kambur / Added

                254 Plays / / 0 Comments

                13 Mayıs 2011'de, FA48Y New Media Art dersimin dönem projesi olarak Galata Perform'da Yeşim Özsoy Gülan ile röportaj gerçekleştirdik. Oyun yazarı, yönetmen, oyuncu ve aynı zamanda mekan yöneticisi olan Yeşim Özsoy ile projeleri, tiyatroyu ele alışı ve planları üzerine konuştuk. Yeni medya araçlarını oyunlarının bir parçası olarak kullanan Özsoy, bu bağlamda geleneksel oyun yorumlayıcılarından ayrılıyor ve disiplinlerarası eserler üretiyor. Videoda "Yüzyılın Aşkı" adlı oyundan görüntüler kullanılmıştır. An interview with Yeşim Özsoy Gülan who is a theahter writer, director and artistic director of Galata Perform on May 13th, 2011. The interview being the term project of FA48Y is in Turkish.

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                • MT2009

                  13:41

                  from marwin / Added

                  27 Plays / / 0 Comments

                  videowork "MT2009", 2009, leipzig dvd, 13:41min This is not a finished work but more an excercise on a way to get the real videowork done. Some things are good, some are not. I am not so happy with the sound but due to heavy wind the original sound couldn't be used. what to do? well, I just put some music to the video. medienkunst /new media art hochschule für grafik und buchkunst leipzig / academy for visual arts leipzig

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                  • TRAVERSER

                    13:31

                    from Meriol Lehmann / Added

                    « traverser » est une image en mouvement créée pour l'exposition collective « Hétérotopies », présentée à Regart, Lévis. Que ce soit pour les images en mouvement « traverser » et « détroit », ou encore lors du parcours sonore « (dé)rives », c’est la même démarche qui se retrouve derrière les trois oeuvres que je présente lors de cet événement. L’invitation d’Anne-Lise Griffon, directrice artistique de Regart était on ne peut plus claire et réellement en lien avec ma pratique : réfléchir à ces territoires qui entoure la Traverse de Lévis. L’utilisation du pluriel n’est pas anodine même si la zone géographique est plutôt petite et homogène. Car lorsqu’on s’attarde plus en profondeur sur l’évolution de ces lieux au fil des années, on se rend bien compte que ce n’est pas un territoire unique et statique. Il est bel et bien constitué de multiples géographies en constantes mutations, passant de la forêt à une zone industrielle pour en arriver à ce que nous en connaissons aujourd’hui. Ces trois oeuvres superposent lieux et temporalités pour créer des hétérotopies. Je dis créer, mais c’est plutôt faux. Ces hétérotopies existent déjà. Elles ont là, disseminées dans le temps et le territoire. Il suffit d’y prêter attention pour les retrouver. Et c’est là que j’espère amener le spectateur : dans ces espaces qui hébergent l’imaginaire.

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                    • Privacy Through Visibility: Disrupting NSA Surveillance With Algorithmically Generated “Scary” Stories

                      13:21

                      from benjamin grosser / Added

                      454 Plays / / 0 Comments

                      Privacy Through Visibility: Disrupting NSA Surveillance With Algorithmically Generated “Scary” Stories Ben Grosser http://bengrosser.com Presented at ELO14 2014 Electronic Literature Organization Conference University of Wisconsin-Milwaukee July 19, 2014 Computational artists engage the politics of networked communication through code. By creating net art,[1] hacktivist projects, and “tactical media,”[2] artists illuminate the dark sides of networks, challenge the notion of the network as a liberating force,[3] and propose mechanisms for tweaking the “evil media”[4] these networks facilitate. A primary example of network-based politics is the US National Security Agency’s (NSA) email surveillance efforts recently revealed by Edward Snowden. Using systems to examine our text-based digital communications, the NSA algorithimically collects and searches everything we write and send in a futile effort to predict behaviors based on words in emails. Large collections of words have thus become codified as something to fear, as an indicator of intent. This presentation will explore the methods of artists who engage the politics of digital surveillance using algorithmically generated language, and will explore the question of whether computationally produced text can combat computational text analysis. A focus will be the author’s project ScareMail,[5] a web browser extension that makes email “scary” in order to disrupt NSA surveillance. Extending Google’s Gmail, the project adds to every new email’s signature an algorithmically generated narrative containing a collection of probable NSA search terms. This “story” acts as a trap for NSA programs like PRISM[6] and XKeyscore,[7] forcing them to look at nonsense. Each email’s story is unique in an attempt to avoid automated filtering by NSA search systems. ScareMail attempts to disrupt the NSA’s surveillance efforts by making NSA search results useless. Searching is about finding the needles in haystacks. By filling all email with “scary” stories, ScareMail thwarts NSA search algorithms by overwhelming them with too many results. If every email contains the word “plot,” or “facility,” for example, then searching for those words becomes a fruitless exercise. A search that returns everything is a search that returns nothing of use. ScareMail thus proposes, through its algorithmic generation of “scary” stories, an alternative model of privacy built on visibility and noise rather than encryption and silence. [1] Bosma, Josephine. Netitudes: Let’s Talk Net Art. Amsterdam, Netherlands: NAi, 2011. [2] Lovink, Geert. “Tactical Media, the Second Decade.” Retrieved from http://geertlovink.org/texts/tactical-media-the-second-decade/, accessed 6 Dec 2013. [3] Galloway, Alexander. Protocol: How Control Exists After Decentralization. Cambridge, MA: MIT Press, 2004. [4] Fuller, Matthew and Andrew Goffey. Evil Media. Cambridge, MA: MIT Press, 2012. [5] Grosser, Benjamin. “ScareMail.” Retrieved from http://bengrosser.com/projects/scaremail/, accessed 6 Dec 2013. [6] Greenwald, Glenn.”NSA Prism program taps in to user data of Apple, Google and others.” The Guardian. Retrieved from http://www.theguardian.com/world/2013/jun/06/us-tech-giants-nsa-data, accessed 6 Dec 2013. [7] Greenwald, Glenn. “XKeyscore: NSA tool collects ‘nearly everything a user does on the internet’.” The Guardian. Retrieved from http://www.theguardian.com/world/2013/jul/31/nsa-top-secret-program-online-data, accessed 6 Dec 2013.

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