more blogs for compulsive clickers

Obviously I collect blogs the way philatelists collect small rectangles of perforated paper, and one day a mint-condition first-edition of supernaut will be the blog equivalent of the Penny Black, and an anonymoused version dug up from some 2400 baud reverse telnet archive will be like the Treskilling Yellow. So to add to my current abuse of a high-ish-speed connection from under the great Celestial Nanny’s petticoats, and to celebrate the sleight-of-hand that is anonymouse, that bewilders the nanny like the bright headlights of a speeding car at night transfixes and confounds a startled rabbit, here’s another pile of blogs I’m drooling over.

arsenic in the jam » who wrote me the most beautiful email after hell, and she really makes Melbourne a better place.
An Eternal Thought in the Mind of Godzilla, strange Japanese podcasts and art stuff…
OUPblog: Oxford Etymologist, high linguistic geekery.
Suzanne G. – Giving Taste A Bad Name Since Kindergarten. Art. Switzerland. Zürich. odd things… yum…
我们需要钱不是艺术 we-need-money-not-art. friends of we-make-money-not-art.
Jean Snow Japanese art and design stuff and responsible for many happy hours of link-clicking.
feng37 translator of contemporary Chinese poetry, Guangzhou art and culture stuff.

176*144 – i took my time …

The project I started in Taiwan which didn’t go anywhere because Taipei didn’t have a 3G mobile phone network has been sitting doing nothing for ages, and being a fan of reading my website statistics log, I saw for some reason people have been going to 176*144 alot lately, and having a highspeed airport connection that I’m leeching off Emile, he thought it was time I uploaded the video and get the site going. Get your mobile phone freak on! Content! Content! Content! All 3G-mobile-phone-video-content content! All the time!!!

four years of email mayhem

Almost a year ago, when I was in Taiwan, I put out a call for submissions for a 3G mobile phone art project I was working on, which was supposed to be part of a mobile network art festival in Taipei, until they told me they didn’t have a 3G network. Somehow I started getting responses from all over the world, as my original call got disseminated over dozens of email lists.

One list I tracked down, and subscribed to myself straight away was the Calls and Opps List from The Red Project, a labour of love from a single person which every month was like getting all my wish-lists at once in my inbox. The last email from the list came today, I’ll leave it to the list-maker to post-modernly explain why it’s finished, but I would like to thank Michael Mandiberg for providing four years of art fun.

At the end of one of their essays in one of their books Critical Art Ensemble offers their definition of the gift economy, which i remember as going something like this: at some points certain people have more time/labor or capital and can give it away to others who have less, which they do until they no longer have more time/labor/capital and then they cannot give it away, so they stop and someone else gives.

Deleuze (in one of his essays in one of his books) speaks of the idea of ‘becoming,’ and the way i always understood it was that an idea/person/etc should always be in the process of becoming something, as opposed to having become something. always evolving, changing, not staying still.

At this point i do not have the time/labor/capital to continue the calls and opps list. my service provider is making it difficult/impossible for me to run my own independent mail script (sendmail throttling, changing anti-spam verification rules, etc). i thought about possible methods of sustaining the project, (advertising, membership fee, etc) all of which turned the project into an institution. an institution is about as un-becoming as you can get, and also the last thing i want to be responsible for at this point. (smile.)

The thing i liked best about it was how un-institutional it was. I did it because it was easy to do, and made things easier: rather than sending out these list of calls by typing in all of my artist-friends’ emails, i could just set up mailing list and have them join. and then i and they could invite other people to join. and after four years, there would be over 5000 people subscribed worldwide.

— Michael Mandiberg

Cunnilingus in North Korea

The empyre mailing list went spastic in the last couple of days with the pornographically titled Cunnilingus in North Korea. It all started with this email from Young-hae and Marc of YOUNG-HAE CHANG HEAVY INDUSTRIES and pretty much went into the arse-licking gutter from there. One of the great moments in net-art for 2005.

We’re open to discuss anything with anybody — oh, except for sex, politics, money, ourselves, Internet technology, critical theory, including the global versus the local trans-anything, post-everything, deconstruction, nomadism, gender, C, C++, Maya, claymation, GATS, intellectual copyrights, and the latest North Korean test missile. Shoot.

— Young-hae and Marc

blast theory tokyo – can you see me now?

British augmented-reality performance artists Blast Theory were in Japan last week for six days ofCan You See Me Now? on the streets of Shibuya.

Can You See Me Now? –Tokyo and Cambridge

Can You See Me Now? is a chase game played live online and on the streets. Online Players try to outrunmembers of Blast Theory who are running through the real city streets equipped with handheld computers and tracked by satellites.

In Tokyo, Can You See Me Now? computer terminals are housed in both ICC and the department store PARCOwhich is situated in a fashionable building complex with boutiques, restaurants and theatres located in the highenergy district of Shibuya. The Blast Theory runners will be giving chase amongst the designer shoppers andcafe hangouts.

—Blast Theory

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nofzilla – PE(s)T

Liz Nofzilla and Peter Pizzi from Boston and all over the internet are opening their installation at Atlantic Works Gallery in Boston on March 5th. I met Liz on the internet when I was in Taiwan working on the 176*144 performance for mobile phones. Her stuff is pretty cool.

Upon entering the gallery, you are contained in a human-scale hybrid cage fi lled with elements of bird and small animal habitats. Simultaneously familiar and surreal, you shuffl e through ankle-deep wood shavings, surrounded by the scent of pine. You have become the pet. Climb onto the perch to swing and swivel, crawl through the critter tube, feast on the treats in the food bowl, drink from the water tube, or relax in the nesting area.

— nofzilla

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平行輸入 pseudo hackers

My last night in Taipei was also the opening of the new 台北當代藝術館 MOCA exhibition, 平行輸入 Pseudo Hackers Art in Parallel Zones.

“Parallel Zones” here refers to the situation in which some artists try to control existing terms and conditions, in order to use their own ability and will to actively engage in the method of production for a certain existing system. The goal of this exhibition is to present and explore how artists express their interest and sensitivity towards various social phenomena through their works in this era filled with various forms of knowledge and information. The chosen artists have maintained a neutral attitude towards mainstream values; both the artists themselves and their works endeavor at examining and reviewing contemporary culture and society. Their works have stepped into the production system of contemporary culture and society with their unique artistic approaches. Moreover, they may try to show the existing or hidden problems of the system through a kind of “unheard” language mechanism. Therefore, the exhibition curator has borrowed the phrase “Pseudo Hackers’Art” to give a general definition of these artists’spiritual and artistic characteristics.

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media mammon

Almost a year of being a bug crawling around the grid in breedster, and now the folks at drunk men work here have invited me into their next project, media mammon. I already have shares in Al-Zaquari, and being a patriot am hanging out to buy some in Bird Flu, Taiwan, and China Aviation Oil. Unfortunately none for SARS yet.

Media Mammon is like a stock market of news, memes and hypes. It allows you to trade shares of companies, countries, events, persons or sports teams: in fact any word or phrase you can think of.

value

The value of each share is determined by the frequency the word or phrase is used by the international media during the previous 24 hours (source: Yahoo! News). Unlike a real stock market the value is not influenced by trading in that share.

nofzilla

One of the projects I’m doing in Taipei is performances for mobile phones. It’s pretty basic use of existing technology, 3G phones, web sites, a bit of css tweaking, like a short film festival only for people with special phones. Beats the crap out of watching Big Brother Up Late on streaming video. So far the response has been awesome, going far beyond the dance performance criteria I initially planned. Lots of people from all over the world have sent me their work, and somehow my initial email to a few people has become a virus. For a few days or a week there is silence, then for no apparent reason I get a flood of emails from people wanting to contribute their own art. Maybe this is from successive postings of my initial email on various email lists, or just truly random response times. Either way, it’s what makes me love the internet.

And I get to see alot of really cool art from people I’d never otherwise hear of. So, I’m going to rave about nofzilla, Liz Nofziger, whose tiny beautiful films are one of the coolest things I’ve seen since Emile Zile rocked the world with satanic laptop black metal in morloch. I love art and this is why.

On fornication and genetics in the Breedster age

Fifty-two days ago an invitation to join Breedster , and became a community founder – one of the perks of compulsively subscribing to any site that says ‘join our mailing list’. Since then I’ve had 58 partners, 26 children (mostly dead now) and then April 21 happened, the year zero of the grid.

The net-art terrorists behind breedster released a ‘Zero Content Symposium’ today, On Fornication and Genetics in the Breedster Age, which brings the whole thing together in a bunch of pretty pictures, so we can finally see what we’ve gotten ourselves involved in, and what we’ve become.

This symposion is the retroactive manifesto of Breedster’s enterprise: it untangles theories, tactics and dissimulations to establish the desires of Breedster’s collective unconscious as realities in the Grid.

How to write a manifesto in an age disgusted with them? The fatal weakness of manifestos is their inherent lack of evidence. Breedster’s problem is the opposite: it is a mountain range of evidence without manifesto.

In terms of structure, this symposion is a simulacrum of Breedster’s Grid: a collection of blocks whose proximity and juxtaposition reinforce their separate meanings.

Breedster is a theatre of progress. Its protagonists are the “exterminating principles which, with constantly augmenting force, would never cease to act.” Its plot is: barbarism giving way to refinement.

From these givens, its future can be extrapolated forever: since the exterminating principles never cease to act, it follows that what is refinement one moment will be barbarism the next.

Therefore, the performance can never end or even progress in the conventional sense of dramatic plotting; it can only be the cyclic restatement of a single theme: creation and destruction irrevocably interlocked, endlessly reenacted. The only suspense in the spectacle comes from the constantly escalating intensity of the performance.

Topics include The copulogram as a means of visualising the social network: We are not our maps, The toroidal universe: New data, new debate, Meaningfulness and motivation: Microcommunities and mobs, Paranoia, hubris and hatred in the post 4/21 era, New ~insights in the epidemic potential of pathogenic causative agents in heterogeous communities through outbreak investigation by fluorescence spectroscopy, and well worth a look in understanding how it all came together, Questions and Answers, Adjourn