[-empyre-] What the heck? - hacking HEK
--empyre- soft-skinned space--In response to the open May theme and since the list has been relatively quiet I'd like to share with the list the hack of HEK's (http://www.hek.ch/) audience award poll I undertook this week. In addition, I wish to ask if list members were aware of this award, its poor organisation and if they had any comments to contribute about it all? Below are details that explain what occurred and at the bottom the short post and video of the hack that was posted through social media. - Since 2016 HEK the Haus der elektronischen Kunste (House of electronic Art) in Basel have organised a net-based award for art that employs the "Internet as a platform for artistic activities". In addition to a jury prize, an audience award is voted for by internet users on HEK's website. Votes are cast through Pinpoli, a web-based poll system, that can and has been easily hacked in the past. The poll was hacked in 2017, presumably by one of the artists nominated for the award, with first and second places surpassing other nominations by over 1400 votes. Yet for the 2018 award HEK continue to use the same flawed polling system. As a consequence, the award is reduced to little more than a fixed popularity contest. It is discussed on social media with derision, users and artists wonder not which artwork will win but instead which hacker or bot will dominate the voting. This is unjust to nominated works and does not raise the credibility or profile of net-based art. In the last week of voting I deployed a clicking application through TorBrowser to cast over a thousand votes. It raised several of the poorly performing nominations above the winning nominations and arbitrarily selected one to win by an exaggerated number of votes. The intention was to undermine HEK's confidence in their poll, confound the process of selection of the audience award and hopefully sufficiently embarrass HEK to abolish it in coming years. - Dear HEK - Haus der elektronischen Kunste, Basel What the heck? Your net-based audience award is a joke and discussed on social media with derision. Users and artists wonder not which artwork will win but instead which hacker or bot will dominate the voting. Your absolute trust in net-based technologies belies your ignorance about the very form and platform you aspire to promote. The award's poll has been hacked for the second year running - this time by me. I have no vested interest in the nominees or who wins, simply that you cease to use such a ridiculous selection process and abolish the audience award in coming years as its selection is unjust to nominated works and does not raise the credibility or profile of net-based art. https://www.youtube.com/watch?v=RhBqPtoVuSI - On Fri, May 11, 2018 at 11:44 PM Renate Terese Ferro <rfe...@cornell.edu> wrote: > --empyre- soft-skinned space-- > Dear –empyre- Subscribers, > With the end of the semesters and May ticking away this open month of > –empyre- is waiting for anyone to post a new project they are working on or > something they would like to share? > Anyone beginning a new research project? Feel free to post. Best, > Renate > > Renate Ferro > Visiting Associate Professor > Director of Undergraduate Studies > Department of Art > Tjaden Hall 306 > rfe...@cornell.edu > -- regards Garrett _ garr...@asquare.org http://www.asquare.org/ Current events and soon: Real Virtuality The Networked Art of Garrett Lynch: http://realvirtuality.peripheralforms.com/ <http://www.filmwinter.de/en> A network of people who attended an exhibition and contributed to the creation of this work http://asquare.org/work/peoplenetwork/ Pick up a postcard and participate at any of the following galleries: Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA), Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth, England), The Gallery at Plymouth College of Art (Plymouth, England), Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA), Watermans (London, England), Wilhelmspalais (Stuttgart, Germany), WOWA (Riccione, Italy), ZKM | Center for Art and Media (Karlsruhe, Germany) ___ empyre forum empyre@lists.artdesign.unsw.edu.au http://empyre.library.cornell.edu
Re: [-empyre-] Week 2 of the April 2018 discussion: New Media Documentary Practice
d on this genealogy. ;-) > > All this to say that documentary is embedded in a lineage of optical > media, and that we don't have to intentionally emulate this legacy to > nevertheless be unconsciously and automatically conditioned by it. > > Which brings me back to the limits of the optical, and how 'new media' > (hate that term) might instead focus on the operational. As mentioned, life > today increasingly seems structured by the operational logics of > technologies, operations which are complex, ubiquitous and largely unseen. > What would it mean to document such operations, and how might these > documents elude the constraints of the visible? > > I'm thinking of the Atlantic's recent article on stock photo depictions of > Bitcoin, "because there's nothing better than images of collectible coins, > stage props, miniatures, and professional models to convey the intricacies > of a distributed, decentralized, encrypted digital asset functioning as a > virtual currency." Or for an earlier example, perhaps Sergei Eisenstein's > 20 pages of notes for how to film 'Capital'. > > Both of these cases, it seems, are attempts to ring-fence the multi-scalar > structures and distributed performances of the operational into the bounded > space and time of the optical. Both of these subjects are fascinating, > imho, but this shoehorning of the operational into the optical seems like > it misses out on much of this complexity. These kind of subjects need more > scrutiny, but they also need dynamic new forms to accommodate them. > > best, > Luke > -- regards Garrett _ garr...@asquare.org http://www.asquare.org/ Current events and soon: Real Virtuality The Networked Art of Garrett Lynch: http://realvirtuality.peripheralforms.com/ A network of people who attended an exhibition and contributed to the creation of this work http://asquare.org/work/peoplenetwork/ Pick up a postcard and participate at any of the following galleries: Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA), Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth, England), The Gallery at Plymouth College of Art (Plymouth, England), Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA), Watermans (London, England), Wilhelmspalais (Stuttgart, Germany), WOWA (Riccione, Italy), ZKM | Center for Art and Media (Karlsruhe, Germany) Garrett Lynch: A network of people @ Galerie XY (Olomouc, Czech Republic) 9 - 13/04/2018 https://www.facebook.com/events/177492866199740/ Best of Luck with the Wall (variant) @ European Media Art Festival, Report - notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018 https://www.emaf.de/en/index.html ___ empyre forum empyre@lists.artdesign.unsw.edu.au http://empyre.library.cornell.edu
Re: [-empyre-] Week 2 of the April 2018 discussion: New Media Documentary Practice
--empyre- soft-skinned space--Yes I agree I think I'd categorise all that as a quality of all three works in a sense being expanded (as in expanded cinema). Jerusalem, We Are Here and Null Island expand what would otherwise be film/video through interaction, perhaps the most obvious and current form of expansion within new media contexts, and while the spaces navigated are quite distinct (photographic/3D, 'real'/'virtual', geographic/imaginary) and each very immersive are actually navigated in ways that aren't that dissimilar. The Toby Tatum Guide to Grottoes and Groves and Best of Luck with the Wall (variant) expand through time I guess. Grottoes and Groves has exactly as you said Dale a sense of ability to access out of sequence, it almost feels as if it could be a film constructed out of clips from a database in any order (such as Manovich's Database Cinema) while Best of Luck forces the viewer to use the film's control bar to jump around (not least of which is because there are about 5 minutes of fade in due to the 6 minute film/video being expanded to 34 hours - if I'm calculating that right the fade in was originally less than a second). It will be interesting to see what happens at EMAF (viewer patience etc.) when the viewer can't use the control bar, whether they will be patient enough to watch the film in longer sections. I think we'd (Frédérique and myself) go further with Best of Luck though than you've said Dale and say that all the viewer really needs of ours is to know the film is 34 hours long and to see any clip of any duration - the concept and message of size, length (format mimicking construction in a sense) is all important. On Thu, Apr 12, 2018 at 9:38 PM, Dale Hudson <dmh2...@nyu.edu> wrote: > --empyre- soft-skinned space-- > Thanks, Garrett, Fédérique, Toby, and Dorit, for these insights into the > conception of your projects for FLEFF. > > One aspect of all three projects, and also Luke’s, that intrigues me is > that they allow audiences to experience them in multiple ways rather than > one single way. > > What I mean is that *Jerusalem, We Are Here* invites users to follow one > of three guides through the city, selecting to read text, view videos, or > look at images along them way. Exploring the project becomes a kind or > archeology. It demands users to make comparisons and develop arguments > about what they find. They can’t just wait for information to be > interpreted for them. > > *Null Island* requires users to move through a virtual space, orienting > and reorienting their experience of hearing and seeing within a somewhat > fluid space. The experience is particularly disorienting at times since the > virtual space is rendered as a map with longitudinal and latitudinal > coordinates that typically suggest stability. > > With* Best of Luck with the Wall (variant)*, users do not necessarily > need to watch for 34 hours without interruption, so that can watch segments > over days or weeks — or they can dip into the video at various points, > moving backward and forward. This very act calls attention to the ways that > surveillance footage can be monitored by humans. > > When screened online, *The Toby Tatum Guide to Grottoes and Groves* also > allows the option of access images out of sequence without undermining the > integrity of the immersion within the environment, thus allowing users to > spend more time in particular grottoes or groves, that is, produce their > own mental spaces in the curation of their interaction with the film. > > For me, all of them moves around conventional assumptions for documentary, > documenting, and documentation. > > Curious to know your thoughts — and please correct anything that I may > have misunderstood. > > Best, > Dale > -- regards Garrett _____ garr...@asquare.org http://www.asquare.org/ Current events and soon: Real Virtuality The Networked Art of Garrett Lynch: http://realvirtuality.peripheralforms.com/ A network of people who attended an exhibition and contributed to the creation of this work http://asquare.org/work/peoplenetwork/ Pick up a postcard and participate at any of the following galleries: Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA), Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth, England), The Gallery at Plymouth College of Art (Plymouth, Englan
Re: [-empyre-] Week 2 of the April 2018 discussion: New Media Documentary Practice
water and dark shadow, much is > hidden beneath the optical surface, and the power of such a work is > alluding to the forces, the energies, the latent capacities inherent in > these sites of significance. > > For myself, looking at my "Null Island" as a piece of documentary > admittedly seemed very strange at first. This is, after all, a 3d > environment that one can explore, based on a fictional island at the GPS > coordinates of 0,0. And yet, "Null Island" does document a very 'real' > technological condition, a condition operating every minute of every day, a > condition made possible through an array of geospatial satellites, and a > condition that intersects with everyday life at the moment we take our > smartphone from our pockets. > > GPS, like many of the 'documentary' subjects here, becomes political in > that it actively determines the possibilities available to subjects and > spaces. Such a politics, operating at the level of protocol, attains part > of its power precisely from its invisibility. > > And this, then, might be the design brief for new media documentary, to > 'document' the ubiquitous but often invisible logics that increasingly > infiltrate life-forces in our current neoliberal milieu. Such a brief would > include both content and form--locating significant conditions operating > unnoticed beneath our cultural and political landscapes as fitting subjects > for documentary, and at the same time, developing expanded forms of > 'documentation' able to present these subjects: new intersections of sound, > media, code and presence that expands (or at least supplements) the > progressive display of still images at 24 frames per second. > > best, > Luke Munn > -- regards Garrett & Frédérique _ garr...@asquare.org http://www.asquare.org/ Current events and soon: Real Virtuality The Networked Art of Garrett Lynch: http://realvirtuality.peripheralforms.com/ A network of people who attended an exhibition and contributed to the creation of this work http://asquare.org/work/peoplenetwork/ Pick up a postcard and participate at any of the following galleries: Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA), Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth, England), The Gallery at Plymouth College of Art (Plymouth, England), Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA), Watermans (London, England), Wilhelmspalais (Stuttgart, Germany), WOWA (Riccione, Italy), ZKM | Center for Art and Media (Karlsruhe, Germany) Garrett Lynch: A network of people @ Galerie XY (Olomouc, Czech Republic) 9 - 13/04/2018 https://www.facebook.com/events/177492866199740/ Best of Luck with the Wall (variant) @ European Media Art Festival, Report - notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018 https://www.emaf.de/en/index.html ___ empyre forum empyre@lists.artdesign.unsw.edu.au http://empyre.library.cornell.edu
Re: [-empyre-] Week 2 of the April 2018 discussion: New Media Documentary Practice
--empyre- soft-skinned space--Hi Toby Yes we met recently at Filmwinter when you showed your work The Signal. I really liked the sonic composition that accompanied that and Grottoes and Groves is just as impressive. The length of our work (apart from the necessity of the 34 hours) came out of our thinking about one interpretation of expanded cinema (in regards to time literally expanded) but also watching both videos and music on YouTube. Videos that petform a technical feat of being 'the longest video on YouTube. ..' and audio being time stretched to several hundred percent, usually using Paul stretch. Ironically our video surpassed most if not all of those video's length but became unrecognisable by YouTube, Vimeo and even most html5 players (in the case of the latter they can't handle the length of the time code - luckily I did find one that could). With all this in mind folding our work back to the web makes a lot of sense for us as most film festivals can't accommodate the length so exhibiting at Invisible Geographies is ideal. We've been luck enough as well to be invited to exhibit at EMAF next week which is running for a month and they will run our work continously so it should be at a different point at the same time each day. Not sure about geological or reptian time but certainly a non-human/machinic vision of the space, perhaps similar to a drones, and that fits well with what is occurring on the border (hi-tec surveillance that's even outsourced to the public, which we found horrible). regards Garrett _ garr...@asquare.org http://www.asquare.org/ Artist in residence at: https://www.facebook.com/peripheralforms On Mon, 9 Apr 2018, 9:32 p.m. Toby Tatum, <tobyjamesta...@yahoo.co.uk> wrote: > Thanks for this Garrett. I'm watching this now, although I think a > different kind of watching is going to be be required of me for this piece. > I'm going to leave it rolling and drop in as and when. You're certainly at > the outer limits in terms of digital duration with this one. It suggests to > me something non-human, the relentless of some kind of robot or perhaps > we're in the terrain of geological time, or the time of reptiles (actually > the subject of non-human time-perception I find fascinating). I'm very > drawn to the correlation between the experience of watching your film and > the experience of being in those immense landscapes. > > By way of introduction my name is Toby Tatum and I'm a film-maker from the > UK. The piece I contributed to the FLEFF is called *The Toby Tatum Guide > to Grottoes & Groves*. The piece resulted from a self-initiated vision > quest into the twisted labyrinths of the forest, specifically the ancient > woods near my Hastings home. The FLEFF curators have written an insightful > piece of the project here should you wish to take a look: > https://www.ithaca.edu/fleff/invisible_geographies/tobytatumguide/ > > Regards, > > Toby > > > Toby Tatum > > *http://www.tobytatum.com/ <http://www.tobytatum.com/>* > > > Toby Tatum's films are distributed by Collectif Jeune Cinéma > <http://www.cjcinema.org/pages/fiche_auteur.php?auteur=969> > > > Recent interviews online here > <http://theundergroundfilmstudio.co.uk/wp-content/uploads/2017/01/FILM-PANIC-ISSUE-3.pdf> > & here > <http://www.swedenborg.org.uk/events/swedenborg_film_festival/programme_and_awards_24_march_2016/interview_with_2016_joint_winner_toby_tatum> > > > > On Monday, 9 April 2018, 19:49:07 GMT+1, Garrett Lynch < > garr...@asquare.org> wrote: > > > Many thanks to Dale Hudson for inviting us to participate in the > discussion. Frédérique and myself are looking forward to some interesting > discussion on the subject of New Media Documentary Practice but also on the > ideas and issues that emerge from our work as part of Invisible Geographies. > > Our work Best of Luck with the Wall (variant) and an introductory text > about it cane be found on the exhibition site here: > https://www.ithaca.edu/fleff/invisible_geographies/bestofluckwiththewall/ > > > When invited to contribute to -empyre- on the theme of new media > documentary practice and in particular to "think about digital media and > environmentalism across vectors that are visible and invisible, material > and immaterial, audible and inaudible", our first thought was that > documentary is not the principle purpose of Best of Luck with the Wall > (variant). > > It is the purpose of Begley's original film, Best of Luck with the Wall, > to document the absurdity of building Trump's US/Mexican wall (its scale > and so forth). However, our 'variant' is foremost a critique of the form > Begley's film as comment/criticism takes - a time/space compress
Re: [-empyre-] Week 2 of the April 2018 discussion: New Media Documentary Practice
--empyre- soft-skinned space--Many thanks to Dale Hudson for inviting us to participate in the discussion. Frédérique and myself are looking forward to some interesting discussion on the subject of New Media Documentary Practice but also on the ideas and issues that emerge from our work as part of Invisible Geographies. Our work Best of Luck with the Wall (variant) and an introductory text about it cane be found on the exhibition site here: https://www.ithaca.edu/fleff/invisible_geographies/bestofluckwiththewall/ When invited to contribute to -empyre- on the theme of new media documentary practice and in particular to "think about digital media and environmentalism across vectors that are visible and invisible, material and immaterial, audible and inaudible", our first thought was that documentary is not the principle purpose of Best of Luck with the Wall (variant). It is the purpose of Begley's original film, Best of Luck with the Wall, to document the absurdity of building Trump's US/Mexican wall (its scale and so forth). However, our 'variant' is foremost a critique of the form Begley's film as comment/criticism takes - a time/space compressed experience of travelling the wall. Given the social problems building the wall will create, i.e. destroying US/Mexican relations when the US should be building better relations with its neighbours, we wanted the experience of the film to be the experience of travelling the length of the wall (34 hours by car), seeing all the landscape, all the communities that will be cut in two. Nobody is going to watch the 34 hours of our 'variant' (the one extra minute is simply our credits) but if they do we want it to be a long arduous experience! This is where we return to the idea of documentary, our 'variant' isn't any more documentative than Begley's film is, that is it doesn't address the subject of the wall to any greater degree, but it is more documentative of the time/space of the affected landscape while still remaining a mediated and immaterial experience of it. What becomes invisible in Begley's film because of the speed of the edit accompanied by a pleasant soundtrack becomes visible in our 'variant' because it is time stretched transforming the soundtrack into a granular tortured soundtrack that makes the inaudible audible. This is just one aspect of our thinking on this work. Others that we would also welcome discussion from the list are: - deterritorialisation; - political comment/criticism (in particular from an exterior position); - deconstruction and documentation of political fact; - ideas of appropriation (from Google, from Begley) and how they intersect with plagiarism; - expanded film formats (time, generative); - time stretching as a process in new media; and the intersection of these subjects. -- regards Garrett Lynch & Frédérique Santune _ garr...@asquare.org http://www.asquare.org/ Current events and soon: Real Virtuality The Networked Art of Garrett Lynch: http://realvirtuality.peripheralforms.com/ <http://www.filmwinter.de/en> A network of people who attended an exhibition and contributed to the creation of this work http://asquare.org/work/peoplenetwork/ Pick up a postcard and participate at any of the following galleries: Aksioma Institute for Contemporary Art (Ljubljana, Slovenia), Bannister Gallery (Rhode Island, USA), Centro ADM (Mexico City, Mexico), Centro de Cultura Digital (Mexico City, Mexico), Gallery XY (Olomouc, Czech Republic), Gedok (Stuttgart, Germany), Guest Room (North Carolina, USA), Human Ecosystems (Rome, Italy), Kunst Museum (Stuttgart, Germany), Laboratorio Arte Alameda (Mexico City, Mexico), Le Wonder (Bagnolet, France), MUTE (Lisbon, Portugal), NYU Art Gallery (Abu Dhabi, United Arab Emirates), Open Signal (Portland, USA), Plymouth Arts Centre (Plymouth, England), The Gallery at Plymouth College of Art (Plymouth, England), Transfer Gallery (New York, USA), Upfor Gallery (Portland, USA), Watermans (London, England), Wilhelmspalais (Stuttgart, Germany), WOWA (Riccione, Italy), ZKM | Center for Art and Media (Karlsruhe, Germany) Garrett Lynch: A network of people @ Galerie XY (Olomouc, Czech Republic) 9 - 13/04/2018 https://www.facebook.com/events/177492866199740/ Best of Luck with the Wall (variant) @ European Media Art Festival, Report - notes from reality (Osnabrueck, Germany) 18/04 - 21/05/2018 https://www.emaf.de/en/index.html ___ empyre forum empyre@lists.artdesign.unsw.edu.au http://empyre.library.cornell.edu
