Net Art

I didn't have much idea what 'Sonic Art - Waveswarms' was going to be about but I went hoping to find out more about what others are exploring in this area. I'm still not that clear except that all the people talking were all concerned in some way with exploring sound and interaction.

A number of speakers referred to the way in which sound and hearing have been undervalued compared to words and images. Aaron Siegel used the idea of aural parallax to compare the experience of some interactive sound installations to that of moving around a sculpture like that of Serra, for example. He used this to illustrate an understanding of 'public space'. The important aspect being that the individual can be part of a shared experience while retaining a separate subjective sense of themselves. This can come, for example, from moving around a space and experiencing changes in our sonic field as a result.

From Net Art News, Rhizome June 10, 2005

Kurating By Numbers

On the 4th of June, Tate Modern hosted the CURATING, IMMATERIALITY, SYSTEMS symposium to kick off its epochal Open Systems survey show of the conceptual and informatic art that swept the 1960s-70s. The conference acted as the first docking bay for UK-based programmer Grzesiek Sedek and curator Joasia Krysa's open source curating software KURATOR. Drawing on affinity between code art and curatorial praxis, the software tries to redevelop curating as a generative experiment in social relations, within and against an art world that is only beginning to bypass the genteel stultification of curator as the golden alibi of art markets and aesthete-at-large. KURATOR posits "software curating" as a way to distribute curatorial process over networks of people, including artists and others, and finally outwards from the special domain of an individual. It further combats the reification of taste by partially automating many of the traditional metiers that distinguish the curato! r - selectivity being one.

from Office of the Press Secretary, press@usdat.us

US Department of Art & Technology Washington, DC
For Immediate Release: June 10, 2005

SITUATIONAL TOUR, 51st VENICE BIENNALE- JUNE 10 - 19, 2005

VENICE - The US Department of Art & Technology announces the SITUATIONAL TOUR of the 51st Venice Biennale, June 10 - 19th

US DAT Secretary-at-Large Randall M. Packer will report on the aesthetic edge of the international arts festival, employing the Department's state-of-the-art mobile communications system to provide a live feed of the unfolding, situational space of the Venice Biennale. US DAT invites a global audience to follow the critical lens of the Secretary-at-Large in the deconstruction of all things Art World.

The SITUATIONAL TOUR of the 51st Venice Biennale is the initial phase of the US DAT reclamation of the American Pavilion, transforming it as the "Virtual Pavilion" for the 52nd Venice Biennale, 2007. The theme of the exhibition will be "representation through virtualization."

This may read a bit like a small child's reflections after having been to the fair or circus. I can tell you about lots of bright colours and new sounds / noises and nice people offering me things but there may not be much more to it...

Cybersonica 05 was made up of a number of quite distinct elements. There was the first two days at The Dana Centre and then another existence as The Art at Encompass at The Old Truman Brewery. There were symposia, performances, workshops and exhibits running throughout.

On the first day I caught parts of a session about Interactive Audiovisual Experiments. I chatted to Chris O'Shea afterwards because I found the ideas behind his work challenged things that bother me about lots of 'interactive' work that I think has a very narrow idea of what interaction involves. Particularly he talked about how important open source principles / ideas are to him.

This may read a bit like a small child's reflections after having been to the fair or circus. I can tell you about lots of bright colours and new sounds / noises and nice people offering me things but there may not be much more to it...

Cybersonica 05 was made up of a number of quite distinct elements. There was the first two days at The Dana Centre and then another existence as The Art at Encompass at The Old Truman Brewery. There were symposia, performances, workshops, exhibits and things without names running throughout.

On the first day I caught parts of a session about Interactive Audiovisual Experiments. I chatted to Chris O'Shea afterwards because I found the ideas behind his work challenged things that bother me about lots of 'interactive' work that I think has a very narrow idea of what interaction involves. Particularly he talked about how important open source principles / ideas are to him.

The development of Networked Media Environments allows the interconnection and networking of people and ideas, a cross-fertilisation between those from diverse cultures and with diverse knowledge. This can lead in two very different directions:

Thank you is an HIV awareness project which took place in Khayelitsha, South Africa, New York City and on the web. In early December 2004 the works were displayed on 2 computer monitors in 2 remote project spaces.