[spectre] first ever LEA new media exhibition has begun (apologies for any cross posting)
LEA New Media Exhibition Re-Drawing Boundaries Curator: Jeremy Hight Senior Curators: Lanfranco Aceti and Christiane Paul This exhibition presents key innovators in Locative Media, New Media and Mapping in a show that works to display not only fields and works but more of cross pollinations, progressions, the need to move beyond labels just like the importance of reconsidering borders on maps, what space is and what pragmatic tools and previous forms can do. The selected artists are: Kate Armstrong, Alan Bigelow, Louisa Bufardeci, Laura Beloff, J.R Carpenter, Jonah Brucker Cohen, Vuk Cosic, Fallen Fruit, Luka Frelih, Buckminster Fuller, Rolf Van Gelder, Natalie Jeremijenko, Carmin Kurasic, Paula Levine, Mez, Lize Mogel, Jason Nelson, Christian Nold, Esther Polak, Proboscis, Kate Pullinger, Carlo Ratti, Douglas Repetto, Teri Rueb, Stanza, Jen Southern, Kai Syng Tan, Jeffrey Valance, Sarah Willams, Jeremy Wood, Tim Wright. We are in an age of cartographic awareness that is arguably unprecedented, but is of a malleable map, of layered spaces, of maps in new contexts. Boundaries are not the only things that are being reconsidered on maps: mapping systems and our base sense of space. It is how we see and share information, communicate, react and remember. The sea change is occurring right now and it is being led by the ideas of works of these radical thinkers and others who are making the static map and our sense of space open up. The range of works in this exhibit have not only shown in Biennials in some cases or started whole fields of work in others, but more importantly, show in them a connectivity of exploration and practice between many people and works in differently named fields. Data is not just cold measure; place is not static; function can be many fold and startlingly so by intention. Space and location are not simply to be marked or named. There are histories, tensions, conflicts, stories, many types of data and ways of measure. This show will exhibit 2 new important artists/practitioners each week from several different fields. We begin with locative pioneer, Teri Rueb, and cross platform provocateur, Jonah Brucker Cohen. Both look at space, data and why we should be more aware and inquisitive but in very different styles and aesthetics. Exhibition Schedule Week 1: Jonah Brucker Cohen, Teri Rueb Week 2: Carlo Ratti, Sarah Willams Week 3: Stanza, Lize Mogel Week 4: Jeremy Wood, Mez Week 5: Rolf Van Gelder, Carmin Kurasic, Kai Syng Tan Week 6: Jason Nelson, Vuk Cosic Week 7: Kate Pullinger, Tim Wright Week 8: Douglas Repetto, Alan Bigelow Week 9: Christian Nold, Esther Polak Week 10: Laura Beloff, J.R Carpenter Week 11: Proboscis, Kate Armstrong Week 12: Jen Southern, Buckminster Fuller Week 13: Jeffrey Valance, Natalie Jeremijenko Week 14: Fallen Fruit, Louisa Bufardeci Week 15: Luka Frelih, Paula Levine Follow LEA on: Facebook http://www.facebook.com/home.php?#!/pages/Leonardo-Electronic-Almanac/209156896252 Flickr http://www.flickr.com/photos/lea_gallery Twitter http://twitter.com/LEA_twitts YouTube http://www.youtube.com/user/LEAbroadcast Vimeo http://www.vimeo.com/leagallery For more information contact: Ozden Sahin, ozden.sa...@leoalmanac.org __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
[spectre] second editon of Line of Influence exhibition has launched featuring Kate Pullinger (last was Vuk Cosic)
The Line of Influence http://binarykatwalk.net/kate/kate.html We are pleased to announce the launch of the 2nd edition of Binary Katwalk's Line of Influence. This edition features the important interactive narrative work of Kate Pullinger and her line of influence, works by Caitlin Fisher, Renee Turner and Christine Wilks. Binary Katwalk is an online exhibition space for experimental digital work. Each edition will feature artists from around the world and from different points in the spectrum of new media. This edition is the second in a series of a few artists selected to show their work alongside their influences and those they see as kindred spirits who are emerging onto the scene. This is not an ordinary exhibition, but instead a chance to show how ideas and works progress over time and how no artist is a solitary force out there. The artists selected have opened doors for others and have stayed true to a particular path with their work. Each artist has selected their companions in their showcase to paint in an arrow in time if you will and to tell the tale of communication and ideas in time. This edition features five new mini-stories created for Kate's Flight Paths project which is a mixed media communal net based narrative on a large scale. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] vuk cosic and the line of influence exhibition has just gone live
www.binarykatwalk.net/art/art.html Binarykatwalk is an online exhibition space for experimental digital work. Each edition will feature artists from around the world and from different points in the spectrum of new media. The Line of Influence This edition is a series of artists selected to show their work alongside who influenced them and those they see as rising to prominence. This is not an ordinary exhibition, but instead a chance to show how ideas and works progress over time and how no artist is a solitary force out there. The artists selected have opened doors for others and have stayed true to a particular path with their work. Each artist has selected their companions in their showcase to paint an arrow in time, if you will, and to tell the tale of communication and ideas in time. We begin with the joker prince of new media, Vuk Cosic __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] modulated mapping ..locative media engaged open source mapping
Revising the Map: Modulated Mapping and The Spatial Interface piim.newschool.edu/journal/issues/2009/02/pdfs/ParsonsJournalForInformationMapping_Hight-Jeremy.pdf Volume I, Issue 2 This quarter's issue of the Parsons Journal for Information Mapping (PJIM) brings another wide variety of innovative, creative, and unique projects completed by our worldwide group of contributors. We showcase two interactive projects along with two well-researched and provoking essays. While this marks our second issue our Editorial Board has seen a vast majority of interest in the concept of globalization and its affect on social interactions among the world's inhabitants. The projects and essays in this issue bring forth various examples of global, local, geospatial mapping, and social connectivity. We thank all of our contributors for their excellent work and proudly present their successes to our subscribers. Brian Willison, Publisher, Parsons Journal for Information Mapping Revising the Map: Modulated Mapping and The Spatial Interface Jeremy Hight, MFA The map can be active, malleable, open source fed, and even, in a sense, intelligent and able to adapt. The possibility also exists for this map to have a function that based on key words will search databases on-line to find maps, animations, histories... Abstract The map can be active, malleable, open source fed, and even, in a sense, intelligent and able to adapt. The possibility also exists for this map to have a function that based on key words will search databases on-line to find maps, animations, histories and stories etc to place within it for your study and engagement. The map is thus a platform and yet is active. Community is possible as people can communicate graphically in works placed on the map and in building mode in the tool. All the tropes of locative media are to be in a mapping system of channels of augmentation and a spatial net. The software by design will allow development on the map and communication like programs such as second life but in mapping itself. Project Metadata Project Title: Revising the Map: Modulated Mapping and The Spatial Interface Keywords: map, mapping, space, modulate, measure, locative, augmentation, social network, semiotics __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] immersive sight within the third space
pardon any cross posting NeMe (www.neme.org) has published Jeremy Hight's text Immersive Sight Within the Third Space: Augmentation and Spatial Interface in exhibition space Hight writes: Our field of vision is a continual, multi-tiered number crunching. Bicameral sight is always being processed , interpreted, reacted to, adjusted for focus, comparisons made. It simply is always running as an immersive, multi layered interaction of information and movement in a space. The logical progression of virtual reality is into augmented reality with smaller lenses and data fit more discreetly and logically layered into one's natural field of vision. Read the complete text on http://neme.org/main/645/immersive-sight [http://neme.org/main/645/immersive-sight] __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] lea special issue:Creative Data: Visualisation, Augmentation, Telepresence And Immersion call for abstracts
*Creative Data: Visualisation, Augmentation, Telepresence And Immersion* http://leoalmanac.org/cfp/calls.asp#cd Guest Editors: *Jack Ox, Jeremy Hight, and Erik Champion * [EMAIL PROTECTED] Editorial Guidelines: http://leoalmanac.org/cfp/submit/index.asp Discussion Group: [EMAIL PROTECTED] Deadline: *8 July 2007 * ** *Call for papers - LEA Creative Data Special* *--* The Leonardo Electronic Almanac (ISSN No: 1071-4391) is inviting papers and artworks that deal with the emerging practice of data visualization as an immersive experience. Data has long been the property and domain of screen based collection, archiving, processing and interaction. The emergence of new processes, functionality and ways of interacting with information is opening up several new areas of great possibility in which the data allows newfound thematic and engaging forms of immersion, as well as innovative and perception-reshaping interaction. ** *Introduction ---* Consider a simple analogy; to swim in a pool is to understand three dimensionality, interaction, spatial relationships and a macro-micro view, as well as contextual and embodied interaction. Can we swim with data? How do we build, debate and discuss the future and shape of immersivity in its relation to data? Can the representation of data as an immersive environment be considered a creative accomplishment or support creativity in action or as spectacle? How does this change the way we collect and archive information? How does it relate to our ways of interacting with information in study and analysis? How can this enhance or fuse key aspects of image projection, virtual reality, augmented reality, new media and even locative media? We are looking for essays, interviews, reports and other forms of writing that look at spatialization and layering of information, a greater sense of immersion, new forms of visualization and depth of field, precedents, future applications and connotations, our relationship to immersion and information inherently as how this applies to this new area. Topics of interest may include (but are not limited to): case study related analysis, historical context and related precedents, future and new applications of the technology, spatial relationship analysis and analysis of immersive interaction, screen based graphic visualization, project and concepts of augmentation, relationship to augmented reality, virtual reality, locative media and spatial interaction, data visualization, creativity and the drawn line between science and art, applications to spatial interpretation of architecture (from buildings to architecture of data, form, etc.), or new paradigms of the kinesthetic and proprioception applied to multi leveled or layered data and information processing (data/and/or human) in ways that creates or enhances immersivity. There is a nexus point of technology, information, creativity and interaction that connects back to essential concepts of seeing, ordering, interacting and interpreting. This call invites papers that explore the myriad ways this is now possible. *Key topics of interest * *-* *** CREATIVE DATA VISUALISATION: * How can scientific data be streamlined and filtered to immerse the public in an intuitive and explorative yet also educational manner? Or allow them to explore their neighborhood, world or even universe at vastly varying scales and detail without cognitive overload? *** AUGMENTED AND INTERMEDIAL REALITIES: * How can various fields and disciplines and areas of artistic endeavor take advantage of new digital technologies to mediate new spatial experiences and perspectives? *** STREAMED EXPERIENCE, SOCIAL PRESENCE AND TELEPRESENCE:* Which networking and distributed technologies and systems have and can be creatively used to share the thoughts, actions and feelings of artists, scientists, actors and/or participants? Immersive environments are not standing alone today. They are more often part of a network of immersive environments. For instance, the OptiPuter consortium ( http://www.optiputer.net/) has developed and distributed OptiPortals to many of its members. An OptiPortal is an immersive SAGE WALL that is connected to the LambdaRail ( http://www.glif.is/). Huge data sets do not have to be stored at more than one site as it is less expensive to communicate them over optical networking that has a capacity of up to 10Gb per second. *** THEMATIC IMMERSION AND INTERACTION:* How can virtual reality technology and thematic interaction combine to create immersive and engaging digitally mediated experiences? For example, what new types of audience participation, setting, interfaces, interaction devices and metaphors, background story etc can help add to a specific sense of space place or time in order to enhance engagement and a sense of immersion in a virtual environment? While case study based analysis
[spectre] Digital Wild edition of Leonardo now online
Wild Nature and the Digital Life Leonardo online leoalmanac.org Guest editors Dene Grigar and Sue Thomas have culled a neat collection of explosive essays from the hefty haul of initial contributions received and emerged with a two-themed anthology on Wild Nature and the Digital Life, which delves into the collaboration of art and nature. In Dene Grigars editorial, she explains that the first volume explores a range of issues relating to the Emergent and Generative in nature, the digital, and art. The second wave of another four papers, edited by Sue Thomas, features essays that are Performative and Locative in scope. Peter Hasdell starts the proverbial ball rolling, with his contribution, Artificial Ecologies: Second Nature Emergent Phenomena in Constructed Digital Natural Assemblages. Participants are asked to develop projects that learnt, borrowed, or stole from natural systems. In essence, constructing part natural/part artificial assemblages functioning as small-scale quasi-ecosystems. This unearths a garden of strange delights where a level of unpredictability of outcome arose, freed from constraints of orthodoxy. The next essay to flutter into sight is Tara Rodgers Butterfly Effects: Synthesis, Emergence, and Transduction. This paper describes a music project in progress that attempts to model monarch butterfly behaviors and migration patterns in sound, using the programming language SuperCollider. The goal is to achieve a dynamically generated composition that combines core elements into a complex system, describing patterns of emergence and survival. Musical composition figures also as the subject of Dave Burraston and Andrew Martins Digital Behaviours and Generative Music, an essay about reaction-diffusion systems, cellular automata, and computer music. Jennifer Willets Bodies in Biotechnology: Embodied Models for Understanding Biotechnology in Contemporary Art serves as an introduction to an evolving series of texts exploring the intersection between computation, biology, art, science, and education. Its focus is on moving away from computational models and reuniting notions of embodiment with the language and representation of biotechnology with a social and political mandate towards informed discourse and public consent. In the second-themed collection, Adam Gussows Kudzu Running: Pastoral Pleasures, Wilderness Terrors, and Wrist-Mounted Technologies in Small-Town Mississippi, transports us to the moment when, during what was intended to be a 30-minute jog on Thacker Mountain, the author realizes he is lost. He is then forced to reassess both the implicit romanticism of my own understandings of nature and the real utility of the competing metric technologies Ive grown addicted to. On a larger scale, in Mapping the Disaster: Global Prediction and the Medium of Digital Earth, Kathryn Yusoff reports on the mapping of disaster in digital prediction models. Concentrating on the imminent disaster of climate change, the author asks how global digital models can be expanded to incorporate a wild nature and wild data. Jeremy Hight then looks into how the developments in locative technology, location-based narrative and the expansion of the research and work allow new hybrid narrative forms, but more importantly, allows the entire landscape to be read as a digitally enhanced physical landscape in his offering Views from Above: Locative Narrative and the Landscape. The closing essay is Brett Stalbaums Paradigmatic Performance: Data Flow and Practice in the Wild, which incorporates many of the areas discussed in this volume. He uses real-time data modelling to explore the intersection of data and the real via artist made technologies, with the goal of generating new configurations of exploration at time when it may be assumed that the Earth is already thoroughly explored. The essays are packaged with a small but powerful gallery of two works, also curated by Dene Grigar and Sue Thomas. Karl Grimes Future Nature continues [his] analytical engagement with the themes of retrieval and digital resurrection, bringing to light and into the light the specimens and objects previously hidden in dispersed archives and research databanks. The project takes as its base the unique animal embryos and foetuses housed in the Hubrecht Collection of Comparative Embryology, Utrecht, Netherlands, the Museum für Naturkunde, Berlin, Germany, and the Tornblad Institute in Lund, Sweden. Elisa Giaccardis efforts with Hal Eden and Gianluca Sabena breathed life to The Affective Geography of Silence Towards a Museum of Natural Quiet, a project which resulted in a virtual museum in which natural quiet is transformed into a living and affective geography that changes over time according to participants' perceptions and interpretations of their natural environment. _ reader-list: an open discussion list on media and the city. Critiques
[spectre] Digital Wild edition of Leonardo now online
Wild Nature and the Digital Life Leonardo online leoalmanac.org Guest editors Dene Grigar and Sue Thomas have culled a neat collection of explosive essays from the hefty haul of initial contributions received and emerged with a two-themed anthology on Wild Nature and the Digital Life, which delves into the collaboration of art and nature. In Dene Grigars editorial, she explains that the first volume explores a range of issues relating to the Emergent and Generative in nature, the digital, and art. The second wave of another four papers, edited by Sue Thomas, features essays that are Performative and Locative in scope. Peter Hasdell starts the proverbial ball rolling, with his contribution, Artificial Ecologies: Second Nature Emergent Phenomena in Constructed Digital Natural Assemblages. Participants are asked to develop projects that learnt, borrowed, or stole from natural systems. In essence, constructing part natural/part artificial assemblages functioning as small-scale quasi-ecosystems. This unearths a garden of strange delights where a level of unpredictability of outcome arose, freed from constraints of orthodoxy. The next essay to flutter into sight is Tara Rodgers Butterfly Effects: Synthesis, Emergence, and Transduction. This paper describes a music project in progress that attempts to model monarch butterfly behaviors and migration patterns in sound, using the programming language SuperCollider. The goal is to achieve a dynamically generated composition that combines core elements into a complex system, describing patterns of emergence and survival. Musical composition figures also as the subject of Dave Burraston and Andrew Martins Digital Behaviours and Generative Music, an essay about reaction-diffusion systems, cellular automata, and computer music. Jennifer Willets Bodies in Biotechnology: Embodied Models for Understanding Biotechnology in Contemporary Art serves as an introduction to an evolving series of texts exploring the intersection between computation, biology, art, science, and education. Its focus is on moving away from computational models and reuniting notions of embodiment with the language and representation of biotechnology with a social and political mandate towards informed discourse and public consent. In the second-themed collection, Adam Gussows Kudzu Running: Pastoral Pleasures, Wilderness Terrors, and Wrist-Mounted Technologies in Small-Town Mississippi, transports us to the moment when, during what was intended to be a 30-minute jog on Thacker Mountain, the author realizes he is lost. He is then forced to reassess both the implicit romanticism of my own understandings of nature and the real utility of the competing metric technologies Ive grown addicted to. On a larger scale, in Mapping the Disaster: Global Prediction and the Medium of Digital Earth, Kathryn Yusoff reports on the mapping of disaster in digital prediction models. Concentrating on the imminent disaster of climate change, the author asks how global digital models can be expanded to incorporate a wild nature and wild data. Jeremy Hight then looks into how the developments in locative technology, location-based narrative and the expansion of the research and work allow new hybrid narrative forms, but more importantly, allows the entire landscape to be read as a digitally enhanced physical landscape in his offering Views from Above: Locative Narrative and the Landscape. The closing essay is Brett Stalbaums Paradigmatic Performance: Data Flow and Practice in the Wild, which incorporates many of the areas discussed in this volume. He uses real-time data modelling to explore the intersection of data and the real via artist made technologies, with the goal of generating new configurations of exploration at time when it may be assumed that the Earth is already thoroughly explored. The essays are packaged with a small but powerful gallery of two works, also curated by Dene Grigar and Sue Thomas. Karl Grimes Future Nature continues [his] analytical engagement with the themes of retrieval and digital resurrection, bringing to light and into the light the specimens and objects previously hidden in dispersed archives and research databanks. The project takes as its base the unique animal embryos and foetuses housed in the Hubrecht Collection of Comparative Embryology, Utrecht, Netherlands, the Museum für Naturkunde, Berlin, Germany, and the Tornblad Institute in Lund, Sweden. Elisa Giaccardis efforts with Hal Eden and Gianluca Sabena breathed life to The Affective Geography of Silence Towards a Museum of Natural Quiet, a project which resulted in a virtual museum in which natural quiet is transformed into a living and affective geography that changes over time according to participants' perceptions and interpretations of their natural environment. _ reader-list: an open discussion list on media and the city. Critiques
[spectre] floating Points discussed at ISEA
Work with developing a new tool to read cities and the landscape with data and narrative that adjusts with elevation/altitude and how to track the trajectories of previous flights discussed as remote speaker at ISEA Aug 11. for more information go to floatingpointsspace.blogspot.com __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Floating Points to be discussed at ISEA
Next thursday (Aug 10) at 1pm Jeremy Hight will be part of the ISEA remote speaker series. He will be discussing how to create a new field of locative art and narrative art that exists above the earth and its cities and changes with altitude. He will be speaking over the net from his home. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] ensight......artworks from raw scientific data
+++ enSight - transforming raw data into art +++ An innovative multimedia art exhibition, charting the evolution from raw science data into works of art in collabotations between researchers and artists from around the world. On display is a series of triptychs made up of a raw science image, an artist's initial reaction, and the final work arising from their dialogue. enSight blurs the boundaries of science and art, of observation and interpretation... Be part of the experiment! Opens: this Thursday 13th April 2006 until 18th April Hours: 15:00-20:00 Venue: enSight gallery, 51 Home St, Tollcross, Edinburgh (opposite the Cameo Cinema) Included in the exhibit are works by: Sarah Afzal Patrick Blaeser Francesca Bray Claire Dufresne Andy James Farnell Saskia Gavin Jeremy Hight David Hutchison Aimee Lax Jessica McClelland Cathy Stobo __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] Art and Cultural Utilization of Space Exploration panel at Space Development Conference may4-7
25th annual International Space Development Conference (ISDC). los angeles, ca (on art and space panel ) May 4-7, 2006 Art and The Cultural Utilization of Space Exploration panel will include Andrea Polli and Jeremy Hight __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] jumping back in..............some side pocket points
I am good friends with the geneticist/artist ruth west (the west coast one not the east coast one) she won several awards in genetic research and still does it but also got an mfa in new media art from ucla a few years ago. We met when we were both in a show at UC San Diego.She made a project that was a turning record on a turntable but with a laser needleit spun in a dark room ...and triggered noises only when hitting spaced out shapes on the material above the record she had mapped the sadly forgotten trajectories of the hugely influential early programming team on one of the earliest supercomputers they were all women and when the men returned they were forgotten..it is one of the great feminist and human tragedies in technology and science in america in the last 50 years..in fact the anniversary party occured a few years ago.and they were not even invited... she loves science but also always wanted to be an artist.and combines the two. another project was a database of images that were slowly degraded by a floating point on the screen (again in a dark room) that moved based on the ambient noise levels in the room...the images were family photos and the piece was about the alzheimers that her father had and ultimately the related complications that took his lifeit was also about the psychology of observation, interaction and a sort of meditation when witnessing. forgot to mention that she also is trained as a psychologist. so those layers of such different careers ..so societally diametric and compartmentalized...combine seamlessly into her work amazing. I am also in contact with a geneticist in scotland that selected me to do a project based on his research on the history of genetic development in humans in relation to other species sets . I don't know him well, but he seems to just be jazzed to work with artists to get a breath of fresh air and see what his work can generate. Not sure if it will be a go. Will see. Met pegleg joe davis when I was mit. He is really hard to categorize...was a bike mechanic that drove up to mit many years ago to talk about some ideas he had...and when he was about to be thrown out he got an hour with a prof that announced.he cannot work here.but he gets a lab he has done projects like a functional fishing pole that catches single cell organisms..and a way to hear the sounds produced by entities like protozoa... he also has other projects that loose mea bit out there... he is a controversial figure..hard to pin down...was an incredibly gracious host... he seems to just have endless curiosity and a mad scientist/untrained genius dichotomy going on (cliche I know but he is really that way...) My grandfather was a thwarted inventor that made an invention before the transistor radio that you put in your ear and spun a dial and it changes radio stations(!)1955 I believe..but he got screwed by hisw partner who apparently for years sent the biggest gaudiest christmas cards to rub it in.he only invented some sort of better developed valve but ran into complications there too.I only learned these things years after he passed away.knew him only as a bitter mean manthen it made sense..when he gave up he worked at technicolor and raced stock cars. that same night .a christmas eve..I learned that the photographer alfred steiglitz had a secret love he carried his whole life for my grandmother I was flooredoverwhelmed..I'm sure it sounds absurd.my grandmother was a wonderful person.kindest person in the world..funny.failed her drivers test three times twice driving into someone's yard during the test! but I forgot that the other artist in the family.2 generations before me.pasquale napolitanorebel of the italian immigrant family that instead went to study in parishad a pretty strong art career going with paintings, frescoes and sculptures...was getting some work into museums and a cieling of a building on catalina island..when he stopped altogether but he told me once at 101 years old that he used to bug his buddy frank loyd wright about his work this no good.you do again frankie I'm rambling now.reel it in... anyway the thing with my grandparents that makes this not a complete sliding tangent from hell is that you would never know these things of themtheir deepest motivationsentanglementsprismatic sense of identity...they never spoke of it...he out of bitterness at what might have been and anger at the world.her out of a disinterest in the past... so the motivations of a
[spectre] art and science......
not sure what you mean... I don't see it in values. I just see the processesthe curiosity...exploration..resultart and science to me in that context set are similar.america has long bemoaned a shortage of students studying the sciences and it apparently is worse now.when I was younger it was taught as quite dry and we never got any mention of the creative, explorative, more individual result.. I had to have a huge epiphany hit me when I was a year away from my undergrad writing degree having a beer with a writer in a bar in san francisco when I realized that my uncle years before was right and what he meant when I told him writing was far superior to mathematics in terms of creativity, individulaity and singular result... he went off about how as a kid did I write on big lined paperdid I learn vocab etc... what he meant was that in the traditional educational system to that point I had only learned math and science as base tools. I work primarily with new media and locative media work that operates in art but also in an interaction of technology, art and science.. in my opinion and life experience it was quite painful how so many people saw the path of me choosing art and writing as all the pop culture short hand semiotics of no money, likely to never make it, on the fringe, non productive member of society etc... while they were beaming at the thought of me being little science boy..sure to make money and have a job they could drop at parties like the family house was that much shinier It isn't just that science is not given the credit (generality a bit here) but also that the arts in america are so seen as a fringeI wonder if it has connections to the whole frontier spiritstreets of gold cliches of america as the place you come to with nothing and build yourself up...also a relatively young country.appreciation of the arts is vastly different in so many other parts of the world so values is a tough one to answer... is art communication? is it awareness raising? is it individual voice to be interpreted as best by the rest of the world.? these are the base questions in a college art class... in terms of philosophy.my interests and actions I see as being akin to a kid in a sand box...I get curious..play.and get an end result. it just is with narratives edited by the intensity readings of hourly earthquake data, or by movements in a city with a laptop triggering history of place, its voice in a sense by gps I know that a segment of scientists are motivated by greed, by corporations looking for research to back their bad productsego.. but also of artists that claw to get aheadfalsify theory behind projects they threw together as pure play or panicked compromise..artists that create false mythologies of identity to sell themselves. so value in these fields in general is subjective I simply see it in terms of process and the joy of it..,naivein a certain way probably...but the same urge drives me to write and make art that drives me to check the weather around the world ...wonder and excitement..simply and boring as that bur what are the values your interests and actions represent -- Open WebMail Project (http://openwebmail.org) -- Original Message --- From: [EMAIL PROTECTED] To: spectre@mikrolisten.de Sent: Sun, 12 Mar 2006 17:50:52 -0800 (PST) Subject: [spectre] science and art I was on a panel in a conference at M.I.T last year and it was great to speak to creative scientists and researchers and to artists in one place. There is great similarity, we are simply taught not to see it. jeremy hight __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre --- End of Original Message --- __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] will stick around .......
thank you to several very kind people for their supportive emails... I am a sensitive person and don't post much on message boards..I also don't usually talk at great length about my variety of interests/abilities whatever as although it just who I am ..I don't want it to sound grandiose like look at the polymath . I also realized that I jumped in a discussion mid stream with a tangential stream..I was talking about process as opposed to the larger discussion which was more about ethics, values and complexity .. need to work on a lecture for a class I am teachingbut thanks and glad to stay here jeremy __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] science and art
I have to jump in on this discussion. I am an artist,writer,musician,theorist,curator,almost scientist (will explain) and a bit of an early math whiz. I played with pattern variations in long number strings as I saw symmetry flux and pattern emergence while waiting in the dark and cold for the bus as a boy in elementary school. I began giving weather forecasts and correcting the men on tv (one actually corrected his error after our phone call) around 8 or 9. I also collected an amazing fact corner in the sunday comics that has fueled a lot of my later work. It was etymology (word origins) and fascinated me. I collected hundreds of them over my young years. I also began writing at that age, although not taking it seriously. I was one of those highly gifted kids so the teachers basically just accelerated everything and didn't look for individual interests. I am not bragging by any means, in fact I spent several years failing out of school as a teen partially because everone bragged endlessly about iq and how little they studied and also I just felt lost. My point is that I saw mystery, answers, searches, curiosity and patterns (in math,weather,language and writing) There long has been a perception here in america that art and science are polar opposites. But it depends on what perspective of the field you are talking about. I was planning to be a field researcher in experimental meteorology looking at uncertainties , patterns, new forms and how to model them graphically. Now I am a locative and new media artist and have published poems, stories,criticism, critical theory and have had my music in some experimental music shows. I still am obsessed with wether and devour info on nanotechnology, genetics, string theory etc.. It is important to see how a hypothesisa question of combination or comparisonsteps of exploration...smaller and larger questions.and a conclusioncan be biology or how many poems are constructed.. I teach writing, design theory, semiotics, art theory and english composition and often have been stuck on a point and found a science example that filled it in clearly. One example is when I was teaching how to write personal essay and trying to explain how a certain essay was both about a broadening discussion of racism in america and simultaneously a tighter and tighter journey into understanding the writer (James Baldwin) and his father's blank dead look in his eyes. I tried to explain the two movements, then drew diagrams of the spirals and key points in time (personal essay is often not linear in time and instead a resonant accumulation/jumping around) and being saturday morning the students went mmm pancakes! I had to scramble..so...thinking oh no this is wackyI explained the simulatenous tightening of eye wall/low pressure and fanning upper level exhaust system/highin intensifying hurricanes.and how it was the same thing in a way...the students listened then nodded.. I was on a panel in a conference at M.I.T last year and it was great to speak to creative scientists and researchers and to artists in one place. There is great similarity, we are simply taught not to see it. jeremy hight __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] new trans
what is the new in new media...what is the Trans in transmedia. how do codifying phrases as linguistic constructs benefit and hinder work that appears online or on computers ? it is 1 am and I am working on a weather driven narrative...rambling. jeremy hight feeling restless.. __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
[spectre] binary katwalk....call for work
BINARY KATWALK announces the call for work for second edition. Binary katwalk is an on-line exhibition space focusing on work that is highly experimental and would benefit from a non-traditional exhibition space. The site is co-curated by Sindee Nakatani and Jeremy Hight. The first edition was a great success and we are now looking for work for the second . We are looking for new media work: for cross disciplinary works, for experimental works, for works that are pushing into new horizons in form and functionality. Contact : [EMAIL PROTECTED] __ SPECTRE list for media culture in Deep Europe Info, archive and help: http://coredump.buug.de/cgi-bin/mailman/listinfo/spectre
