DASH Archives - August 2016
PROXY Gallery
From: { brad brace } <bbrace@ESKIMO.COM>
Date: Thu, 4 Aug 2016 07:14:52 -0700
you are numbered you are product you are doomed PROXY Gallery 2009-2012 (an online zencart storefront) http://bradbrace.net/proxy.html Enlarged (custom, patented algorithms) and enhanced photographs (now, likely several hundred thousands, soon over a million), mostly low-res cellphone, web-cam, and low-end digital camera self-portraits (self-packaging), culled from dating/social websites. arkansas, asia-other, bangladesh, korea, lebanon, singapore, sri lanka, vietnam, australia, british columbia, arizona, brazil, caribbean, europe-other, florida, france, hawaii, idaho, illinois, india, italy, japan, louisiana, maine, mexico-latin-am, morroco, netherlands, new york, oceania, ontario, oregon, phillipines, quebec, rhode island, russia, south africa, argentina, chile, columbia, venezuela... download the backstory at: http://bbrace.net/proxy.pdf http://bradbrace.net/proxy.pdf https://www.amazon.com/author/bradbrace you are numbered you are product you are doomed PROXY Gallery 2009-2012 (an online zencart storefront) http://bbrace.net/proxy.html http://bradbrace.net/proxy.html now showing: Profile Portraits (we the people...) build your own exhibition + catalogue with commissioned encaustic profile paintings on 12x12" panels, any subject! Perhaps this reemergence of the individual is vital. Perhaps this is how we react as living beings, as mortals, to the threat of an omnipotent universe, the threat of a definitive unreality. so this whole array of technology could be taken to mean that we have again come to believe in our own existence. PROXY GALLERY (now showing: we the people): select and assemble your own custom art exhibition with catalogue based on commissioned portrait-paintings! Ultra hi-res art files, suitable for printing, are delivered in one custom pdf/ebook/directory. thousands of enlarged (custom, patented algorithms) and enhanced photographs (now, likely several hundred thousands, soon over a million,) mostly low-res cellphone, web-cam, and low-end digital camera self-portraits (self-packaging), culled from dating/social websites -- as you might expect, there is some explicit content (more than is permitted here unfortunately: you really should see them all, but it probably makes little difference) -- fascinating and occasionally disturbing. I've decided to also add a set of painting-filters -- this was good, as it enabled a 'recovery' of many more worthwhile images, and also clouded any possible erogenous/irregular corporate claims, but the project now extends beyond my life-span. I easily make small paintings from these images and people support that activity: commissioned portrait paintings, 12" square encaustic on panels, from your choice of subject -- selected pairs/couples can be intriguing --for $15,000US. it's interesting to find the balance/inertia point between the look of photo and painting, and it speaks to the current social/heroic condition! often the image-processing makes faces look squinty so it's necessary to 'bring-back' facial aspects. the display images on the PROXY Gallery storefront are but quick approximations of the larger art files which simply don't scale -- kinda like painted panels. another advantage of the painting filters is that they drastically reduce the file sizes and make it well-nigh impossible for someone to covertly res-up these display images for printing. it's quite incredible to realize that many of these pictures were only 3-4K or so when I started to work on them. you may realize that this is not the first time I've collected anonymous found-public imagery: notably dumpster-diving (bicycling with backpack at midnight,) at photofinishers' in the 70's. and of course, there's the "Insatiable Abstraction Engine" -- collections from newsgroups. [http://bbrace.net/insatiable-abstraction.html] but come to think it, nearly all my work involves repeated multiples or collections of imagery. my new friends. whenever possible I retained any color casts, cropping and lighting. the self-portraits are actually very considered, sometimes selections made/altered merely to obscure the identity that they wished to presumably portray initially. sunglasses are a popular ruse, as are close-ups of cleavage, butts, tattoos, feet and groins. (curiously, I've yet to see a picture of hands... ok, now I have: some intricate fingernails and the love/hate finger-tats.) many feature-obilerating camera-flash-portraits in the bathroom mirror. many of course, occur in and around motorized vehicles. only one (so far) in a grocery store. and some, but surprisingly few, are filched from somewhere online, but this must be a risky choice in the event of an 'actual encounter.' how much introductory information/description do you want to put out there to begin with? there are some very creative, even artful, solutions to this dilemma. various select national groups of portraits are also included in pdf ebook/directories for $250 (this is refunded with the order of one or more paintings; sorry about the price but it was a hellish amount of work and I guarantee you won't be disappointed or YMB), and can be ordered directly. these images contain sufficient resolution to print them out on letter-size/A4 paper (or coffee-mugs, keychains, magnets, photo-stamps, cards, calendars, tea-towels...) use my verified Paypal account to have the pdf delivered at no charge: [bbraceATeskimo.com; http://bradbrace.net/buy-into.html] also available through Scribd and Lulu. you can curate/assemble your own catalogue/exhibition at the PROXY Gallery storefront. art files along with encaustic painted panels are $15,000US each. my new friends. having been recently kicked-off Facebook (there was an anonymous report of a depicted nipple!), and losing 5,000 appreciative friends - the online storefront was the perfect place to host a social-media profile-portrait-collection... how hypocritical to object to profile pictures that may have been on FB to begin with; but it's fun to now position coloured boxes and bars over npples, cnts and ccks. how idiotic is that? the files of course required different custom algorithms and some masterful retouching -- they look great! technically given the incredibly diverse range of imagery it was difficult to make them all equally legible; despite a variety of intricate processing directives, the scripts would inevitably crash or be unable to render a decent image. these were handled individually as were the painting-filters. sure to be a collectors' (socio-anthropologists') item! an amazing and compelling, collective portrait! the interspersed military/gangster imagery (or maybe something else), also introduces a new spin on the hopes for this already tenuous social-media culture. I've had to organize/sub-divide these in some fashion, so by state/country seems to be the prevailing approach. California had to be the place to begin. and given how often workers are compelled to move around, there's more of a local difference in cultural self-perception, body language, and social-sexual proclivity than you might expect. it really is a perhaps overlooked (overly-present), socially significant era when a massive proportion of the population is able to individually exorcise their self-imagery instead of being routinely dependent on existing systematized systems of portraiture and presentation -- which is not to say that it's entirely free from stylistic-cultural-corporate constraints and codification (and why, for now at least, I left the imagery in a nearly random arrangement within each national/state sub-division), but the individual, probably for the first time ever, is seen freely negotiating a shifting porous skein of varied reception... well, something like that... but how could it possibly matter in this bigger world of shuffled lies. the future of humanities: buy-now -- it's an obviously exclusive, pointedly calculated, dismal, tired and insular discussion that somehow sadly shuffles "the deadly futures" of increasingly indebted/desperate privileged artworld acolytes who are compelled to repay by recycling received collegial/corporate diatribes... not unlike treacherously asking interrelated corrupt institutions such as illegitimate States whether they have any future: who will continue to profit and at what repercussive-peril for the populace (?) -- and what can it now mean to cling to the bandied, hollowed refrain of "we the people..." PROXY Gallery 2009-2012 (an online zencart storefront) http://bbrace.net/proxy.html http://bradbrace.net/proxy.html /:b
The ARCHIVE OF DIGITAL ART features LANFRANCO ACETI
From: Image Science <Image.Science@DONAU-UNI.AC.AT>
Date: Thu, 18 Aug 2016 16:30:14 +0200
The ARCHIVE of DIGITAL ART features LANFRANCO ACETI http://www.digitalartarchive.at Lanfranco ACETI works across the borders of academia, art and curatorial practice and currently is the Director of Arts Administration at Boston University. His extensive interdisciplinary research focuses on a variety of subjects such as transmedia, inter-semiotic translations between traditional and new media and digital hybridization processes and digital activism. He has exhibited at the Institute of Contemporary Art (ICA) in London and created digital art interventions internationally at venues such as TATE Modern, MOMA, ICA and the Irish Museum of Modern Art, was Artistic Director and Conference Chair for ISEA2011 Istanbul, and held lectures at numerous international conferences and institutions (Visual Culture Biennial, Boston University; Goldsmiths University; Victoria and Albert Museum; NYU). Furthermore, he is editor-in-chief and author of the Leonardo Electronic Almanach Series. Aceti is currently based at Boston University as Associate Professor of the Practice and Director of Arts Administration. Both as an artist and curator, Aceti is known for his interest in politicized art media practices that bring new critical perspectives and alternative forms of engagement. During his time at Sabanci University in Istanbul, he was director of Kasa Gallery, where he exhibited a range of innovative artworks like 75Watts by Revital Cohen and Tuur Van Balen from the MoMA collection, or Paolo Cirios Loophole for all. In 2012, he founded the Operational and Curatorial Research in Art, Design, Science and Technology (OCR) and the Museum of Contemporary Cuts (MoCC), which develop artistic and curatorial commissions, projects, publications, and academic events for international biennials, museums, and festivals. As lead artist and curator, he has developed a series of international projects over the past twenty years and continues to do so by creating synergies between institutions and cultural operators internationally. Jonathan MUNRO: Through his artworks, installations, performances and activism, Aceti explores the incongruity of contemporary times and the dissolution of social space. Absurdity, folly and a dark irony characterize his artworks which explore the Kafkian relationship between the individual, the body and the power of personified corporations and institutions. Dalia BOLOTNIKOV: One of Acetis fundamental goals as an artist is to justly represent the multitude of personal recollections, realities, and reflections during times of war and immense violence. He sees great potential in digital art for merg[ing] the narratives of the military and those of the civilians and constructing the locus of a compromise, where the images, by layering a shared past, wage war against each other in the attempt to reconcile the irreconcilable nature of the event that they represent. Download articles and find out more about Lanfranco ACETI on ADA: https://www.digitalartarchive.at/database/scholar-detail/artist/aceti.html The ARCHIVE OF DIGITAL ART (ADA), the first web 2.0 based online archive in the humanities, expands its scope of documentation by including scholars to the database. ARTISTS and SCHOLARS are invited to become members of the online community and set up their ADA profile! To ensure a high academic standard, five published articles and/or exhibitions are required to become members of the ADA community. Apply for an account here: www.digitalartarchive.at/support/account-request.html SHARE YOUR RESEARCH WITH PEERS AND THE COMMUNITY Community members can upload publications and PDFs, announce upcoming events, post comments, document exhibitions, conferences and other relevant news. ADA: THOUSANDS OF ARTWORKS Since its foundation in 1999, the ARCHIVE OF DIGITAL ART (former Database of Virtual Art) has grown to be the most important online archive for digital art. In cooperation with established media artists, researchers and institutions it has been documenting the rapidly evolving world of digital art and its related fields for more than a decade and contains today a selection of thousands of artworks at the intersection of art, science and technology. ARTISTS and SCHOLARS are invited to join the community and set up their own archive pages. EXPANDED DOCUMENTATION FOR THE NEEDS OF DIGITAL ART Due to the processual, ephemeral, interactive, technology-based and fundamentally context-dependent character of digital art, it is at risk for becoming extinct without an adequate documentation. Therefore, the ADA is based on an expanded concept of documentation, which takes account of the specific conditions of digital art. ARTISTS represented, among many others: Rebecca ALLEN, Suzanne ANKER, Cory ARCANGEL, Roy ASCOTT, Louis BEC, Maurice BENAYOUN, Paolo CIRIO, Charlotte DAVIES, FLEISCHMANN & STRAUSS, Masaki FUJIHATA, Ken GOLDBERG, Agnes HEGEDÜS, Lynn HERSHMAN LEESON, Ryoji IKEDA, Eduardo KAC, Ken RINALDO, KNOWBOTIC RESEARCH, Lev MANOVICH, George LEGRADY, Golan LEVIN, Rafael LOZANO-HEMMER, Joseph NECHVATAL, Michael NAIMARK, David ROKEBY, Jeffrey SHAW, Julius v. BISMARCK, Paul SERMON, Karl SIMS, SOMMERER & MIGNONNEAU, STANZA, Nicole STENGER, THOMSON & CRAIGHEAD, Peter WEIBEL, et al. Advisory board: Christiane PAUL, Roy ASCOTT, Erkki HUHTAMO, Gunalan NADARAJAN, Martin ROTH, et. al. ADA TEAM: Oliver GRAU Janina HOTH, Wendy COONES, Ann-Christin RENN, Viola RÜHSE, Devon SCHILLER (Editorial Team) digitalart.editor@donau-uni.ac.at
Honorary Professorship for Jeffrey Shaw
From: Oliver Grau <Oliver.Grau@DONAU-UNI.AC.AT>
Date: Wed, 24 Aug 2016 14:54:40 +0200
<== HONORARY PROFESSORSHIP FOR JEFFREY SHAW: CEREMONY SEPTEMBER 8th, DANUBE UNIVERSITY ==> Danube University awards Prof. Jeffrey Shaw a honorary professorship on the merit of his long-time achievements in the fields of artistic and technological development, and for the scientific dissemination of media art. Through his work as an artist, researcher, curator and instructor at highly regarded universities, Shaw has contributed significantly to the development and research of immersive visualization environments, innovative user interfaces and interactive narration systems, and imparting of knowledge in media art. With his special artistic and technical competences, Shaw is a pioneer in the investigation and enhancement of creative and interactive possibilities with new technologies. Already in the 1960s Jeffrey Shaw co-founded artist groups that realized progressive participatory projects. Later, Shaw expanded his architectural and dynamic models using computer technology. JEFFREY SHAW's benchmarking and pioneering oeuvre is documented on ADA with over 140 media art works from his earliest 'happenings' like "Corpocinema" (1967) to his most recent site-specific immersions like "Look Up Bombay" (2015). An extensive quantity of images from concept drawings to exhibition photographs record his artistic process from inception to installation. In addition to these still images, and the art history of the digital age to which they are witness, an extended documentation enables ADA community members to more deeply explore SHAW'S body of work. Digital videos document his interactive and multi-media works. And textual material that includes artists statements, press releases, scholarly articles, and technical schematics, offer qualitative information on the multifarious iterations of SHAW'S artworks, exhibitions around the world, and collaborations with specialists such as those in the computer sciences. Further, a transhistorical keyword index, the Media Art Research Thesaurus, interconnects these contemporary media artworks by SHAW with their art historical predecessors on other digital databases, so that users of ADA are able to comparatively investigate his works through the very terms central to his practice–'acoustic,' 'expanded cinema,' 'panorama,' 'virtual,' and beyond! Jeffrey Shaw's work on ADA: https://www.digitalartarchive.at/database/artists/general/artist/shaw.html Comparative analysis on „Panorama“: http://mediaartresearch.org/search/key-liste.html?tx_vaindex_pi1%5Bkeyworduid%5D=233&cHash=57f47efae2f4cb0282ce39a33eca8264 Shaw worked as the founding director at the Institute for Image Media at ZKM in Karlsruhe from 1991 to 2003. Among other major exhibitions, he curated with Peter Weibel “Future Cinema” in 2002/2003. Shaw led his self-founded iCinema Centre for Interactive Cinema Research at the University of New South Wales in Sydney from 2003 to 2009. And since 2009, he is chair professor for Media Art and dean of the School of Creative Media at City University Hong Kong. A decisive factor for distinguishing Shaw with this award in addition to his artistic and scientific achievements, is his long relation and contribution to the Department of Image Science at Danube University. He teaches in courses that include the MediaArtHistories master’s program. And, as (former) dean and professor of the School of Creative Media at City University Hong Kong, Shaw functions as an important partner in the new Erasmus+ program Media Arts Cultures, developed by a consortium of Danube University, Aalborg University, Univerisity of Łódz, and City University Hong Kong, and led by Professor Grau, Chair of the Department of Image Science at Danube University. The solemn ceremony will take place on Thursday, September 8th 2016, 6 p.m. at Danube University. Department for Image Science DANUBE UNIVERSITY AUSTRIA www.donau-uni.ac.at/dbw