We love these glitch inspired textiles that are woven in the style of 64bit binary excerpts!
Mac OS X iTunes 10.6.3 (25) 64bit binary excerpts rendered as RGB images, woven into blankets.
The first two pieces in a new series of blankets dedicated to making visible the data structures that make up our everyday lives.
“Tumblr is what one might call an “unbounded” social network. In her theory of the “elastic self,” presented recently at the Microsoft Social Computing Symposium, sociologist Tricia Wang argues that not all social media are the same. It’s something we intuitively know — most people keep separate personas on Twitter vs. Facebook, for instance — but why we tend to be more freewheeling on one versus the other has largely not been articulated.
In Wang’s theory, a network like Facebook, which enforces real name registration and consists of a person’s friends and family from time immemorial, encourages bounded use. It’s like the small town you never left, the grammar school class you couldn’t pass out of, the first dead-end job. It’s a network mired in past and present, and by its nature it enforces a limited sense of identity and expression.
By contrast, something like Tumblr encourages unbounded use. It allows you to experiment and play. It’s the big city, and each new tumblelog you create is like a new bar or neighborhood where you can try on a new self and see how it fits. In one instant you can be a pug lover, reblogging the best animated GIFs of the flat-faced dogs. In the next, you can dive deep into the Go Pro snowboarding community and post snaps from your latest run.
Hence Wang’s notion of the elastic self. Like rubber bands, when we step into Tumblr we can stretch and reshape ourselves into different configurations. Each new hat we try on stretches the rubber band just a little bit further, and over time it might evolve into a new configuration. This allows for remarkable opportunities to explore different potentials of self and self-expression.
Wang would know. Though a sociologist by training, she has a long history with the arts, doing hip-hop education and documentary film. This expressiveness leaks through in the wide variety of tumblelogs she keeps, listed at the bottom of her website. There’s a tumblelog for her elastic self theory, one for digital urbanisms, one for her ethnographic notes on China tech usage. But she also tumbles on pussy power, fuck yeah pho, her “Crasian” mother, and dancing. Each tumblelog represents an element of herself, and though she links to them from her central web site, she doesn’t have to, nor are most of her researcher friends aware of them.”
Summerisle is not a place. If you Google it, the first result will tell you that it is the fictional setting of the 1973 film The Wicker Man, in which a police inspector travels to a small island off the western coast of Scotland in search of a missing teenage girl. He discovers a pagan society that believes in a collection of natural magic and fertility rituals. I won’t spoil the entire film for you, but suffice it to say, human sacrifice is involved. Our plot, hatched in a late night conversation between the two central planners, was a mashup of cult film fan performance art and Internet-savvy TED-culture satire.
Ryder Ripps, Screenshot of portion of project website for Hyper Current Living (2013).
Hyper Current Living is a direct collaboration with the Red Bull brand, or at least created with their explicit knowledge and permission. As with The Jogging’scontribution DISImages or the 2012 exhibition Brand Innovations for Ubiquitous Authorship, Ripps’ performance suggests a fascination with the power of branding and an interest in working with brands and embodying their “values,” while also developing a brand of his own. This is distinct from the appropriation of a logo à la Warhol or the adoption of a corporate persona à la the Yes Men; it is living and working according to the strange logic of contemporary marketing. Hyper Current Living is art in the age of biobranding.
Continue reading Ryder Ripps’ Hyper Current Living on Rhizome here
A common paradigm in the new media genre are pieces that reflect some aspect of the viewer’s visual appearance - virtual “mirrors” that take in live video input (usually via webcam) and then feed back that visual data in intriguing ways. My interest in using this technology is not to simply present a two dimensional “mirror,” but to combine that effect with 3D graphics, creating an onscreen virtual space that is sculptural and architectural, as well as, graphical. I call the approach “3D Video Sculpture.
Trails #1” and “Trails #2” are interactive works using a webcam and specialized software to generate interactive 3D Video Sculptures on a computer screen. - Tang
“The work was really about a kind of forced perspective that made it appear to recede into space faster than it does. The idea of Booker T. Washington—the resonance with his life, and his struggle, and the whole notion that his idea of progress for the race—was a long slow progression of, as he said, putting your buckets down where you are, and working with what you’ve got. It really is a question of the view from where you start and the end—the goal.”
Martin Puryear—our current 100 Artists featured artist—on his work, Ladder for Booker T. Washington (1996), as featured in the Art in the Twenty-First Century Season 2 episode, Time (2007), installed at the Modern Art Museum of Fort Worth, Texas.
IMAGES: Ladder for Booker T. Washington (1996). Ash and maple; 438 x 22 3/4 x 1 1/4 inches. Installation view at the Modern Art Museum of Fort Worth, Texas. Production still from the Art in the Twenty-First Century Season 2 episode, Time, 2003.
Last Friday, Rhizome published a new artwork by Oliver Laric that was originally made for BiennaleOnline, but which could not be shown because HTML code and outgoing links were (surprisingly, for an online biennial) proscribed. Today, BiennaleOnline organizer David Dehaeck fires back in the pages of El País, saying “The BiennaleOnline is about art and not bits and bytes.”