http://openmuseum.berkeley.edu/media/ en-US Fri, 26 Oct 2007 17:29:24 PST Fri, 26 Oct 2007 17:29:24 PST http://openmuseum.berkeley.edu/media/files/mg/16 Fri, 26 Oct 2007 17:29:24 PST Michael Joaquin Grey Where Ouija 2000 re-imagines the autonomic writing machine, Recapitulate reinvents the autonomic drawing machine, as software with self-organizing agents/attractors that do not simply digitally print an image, but rather seek out an image in real time, tentatively, line by line, differently each time. The artist recapitulates the ontogeny of visualization and perception by following the narrative and process of drawing. The retracing process then continues by reversing and decaying the image: creation, destruction, variation, iteration.In this installation, the works process recapitulates Goya's famous collection of etchings The Disasters of War, on view in the Theater Gallery. Grey's retracing system redraws one etching a day in four simultaneous yet different iterations. In retracing the etchings approximately, the work approaches, yet never reaches, the original image.In Recapitulate, Grey proposes a revision of the classic biogenic law Ontogeny recapitulates phylogenythe development of the individualmirrors that of the speciesin the form of Culture recapitulates ontogeny. Where Ouija 2000 re-imagines the autonomic writing machine, Recapitulate reinvents the autonomic drawing machine, as software with self-organizing agents/attractors that do not simply digitally “print” an image, but rather seek out an image in real time, tentatively, line by line, differently each time. The artist “recapitulates the ontogeny” of visualization and perception by following the narrative and process of drawing. The retracing process then continues by reversing and decaying the image: creation, destruction, variation, iteration.
In this installation, the work’s process recapitulates Goya's famous collection of etchings The Disasters of War, on view in the Theater Gallery. Grey's retracing system redraws one etching a day in four simultaneous yet different iterations. In retracing the etchings approximately, the work approaches, yet never reaches, the original image.
In Recapitulate, Grey proposes a revision of the classic biogenic law “Ontogeny recapitulates phylogeny”—the development of the individual
mirrors that of the species—in the form of ”Culture recapitulates ontogeny.” mediaoriginalnon_commercial_share_alikearchivezipripmixburn http://openmuseum.berkeley.edu/media/files/mg/16 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://openmuseum.berkeley.edu/media/files/vg/15 Thu, 25 Oct 2007 18:11:43 PST Valry Grancher Valry Grancher is a French Internet-based artist, performer, theorist,curator and lecturer. Grancher's art is a mix of conceptual and pop art references, sometimes with a sense of humor, sometimes appropriating the fads of the day. When Grancher started in the art world in 1995, he employed email to reveal the processes and exchanges within the Internet community, manifesting in physical installations like 'Alone' (1995). In 1997 he used webcams in his project 'webscape', which dealt with the concept of "cybertime." In 1998, Grancher experimented with pop art in his 'webpaintings' project. In 2002, as Google began to dominate the Internet, he launched the "Search Art" collaborative project by creating a piece called 'Self Portrait.' Googlehad become a buzz word in the art world, and numerous artitsts had previously plundered the subject to death. In 2005 he exhibited and sold at FIAC, the international art fair in Paris, 'the biggest Google paintings never (sic) produced.' Valéry Grancher is a French Internet-based artist, performer, theorist,curator and lecturer. Grancher's art is a mix of conceptual and pop art references, sometimes with a sense of humor, sometimes appropriating the fads of the day. When Grancher started in the art world in 1995, he employed email to reveal the processes and exchanges within the Internet community, manifesting in physical installations like 'Alone' (1995). In 1997 he used webcams in his project 'webscape', which dealt with the concept of "cybertime." In 1998, Grancher experimented with pop art in his 'webpaintings' project. In 2002, as Google began to dominate the Internet, he launched the "Search Art" collaborative project by creating a piece called 'Self Portrait.' Googlehad become a buzz word in the art world, and numerous artitsts had previously plundered the subject to death. In 2005 he exhibited and sold at FIAC, the international art fair in Paris, 'the biggest Google paintings never (sic) produced.' mediaoriginalnon_commercial_share_alikearchivezipripmixburn http://openmuseum.berkeley.edu/media/files/vg/15 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://openmuseum.berkeley.edu/media/files/nw/12 Thu, 25 Oct 2007 18:02:57 PST Nathaniel Wojtalik Nathaniel Wojtalik and collaborator Iris Piers (Germany, b. 1986) re-perform 24h00 as Smithereens, a twenty-four-hour transatlantic video mash-up and Internet performance. During the performance, for twenty-four continuous hours prior to the opening of this exhibition, the two artists roamed their respective continents and sent a constant stream of still images, video, and sounds from their cell phones to a central server that in turn influenced their movements in an interactive telematic dance. The artists custom software sifts through the resulting media detritus during the exhibition, comparing the results side by side as in an art history lesson, seeking a meaningful connection, even a transcendent moment, amid the fragments of a day. Nathaniel Wojtalik and collaborator Iris Piers (Germany, b. 1986) re-perform 24h00 as Smithereens, a twenty-four-hour transatlantic video mash-up and Internet performance. During the performance, for twenty-four continuous hours prior to the opening of this exhibition, the two artists roamed their respective continents and sent a constant stream of still images, video, and sounds from their cell phones to a central server that in turn influenced their movements in an interactive telematic dance. The artists’ custom software sifts through the resulting media detritus during the exhibition, comparing the results side by side as in an art history lesson, seeking a meaningful connection, even a transcendent moment, amid the fragments of a day. mediaoriginalnon_commercial_share_alikearchivezipripmixburn http://openmuseum.berkeley.edu/media/files/nw/12 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://openmuseum.berkeley.edu/media/files/jk/8 Wed, 24 Oct 2007 19:17:39 PST Jonathon Keats Jonathon Keats redeploys the networked Ouija board in Ouija Vote 2008, a prototype electronic voting machine proposed for the 2008 presidential election and beyond. Keats reveals the ghost in the political machine and, like Goldbergs Ouija 2000, asks us to consider the nature of our own agency in a system that operates at a distance. Ouija Vote 2008 takes the Central Limit Theorem to its logical conclusion, positing the democratic process as a mystical algorithm. Jonathon Keats redeploys the networked Ouija board in Ouija Vote 2008, a prototype electronic voting machine proposed for the 2008 presidential election and beyond. Keats reveals the ghost in the political machine and, like Goldberg’s Ouija 2000, asks us to consider the nature of our own agency in a system that operates at a distance. Ouija Vote 2008 takes the Central Limit Theorem to its logical conclusion, positing the democratic process as a mystical algorithm. mediaoriginalnon_commercial_share_alikearchivezipripmixburn http://openmuseum.berkeley.edu/media/files/jk/8 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://openmuseum.berkeley.edu/media/files/as/2 Wed, 24 Oct 2007 17:46:34 PST The Studio for Urban Projects While Granchers 24h00 reveals the changing self through photographs and underscores the relationship between online and bodily senses of time, In Popular Terms examines the evolving vocabulary of ecology and exposes the tensions between online language and real-world practices. It asks how our conception of our place in nature has been impacted by a shift from the use of terms such as spaceship Earth in the past to thermal pollution, global warming, and climate change in the present. Drawing from both historical sources and contemporary usage on the Internet, In Popular Terms maps the catch phrases, scientific terminologies, and bumper sticker slogans that evince the evolving language we use to describe our relation to nature. While Grancher’s 24h00 reveals the changing self through photographs and underscores the relationship between online and bodily senses of time, In Popular Terms examines the evolving vocabulary of ecology and exposes the tensions between online language and real-world practices. It asks how our conception of our place in nature has been impacted by a shift from the use of terms such as “spaceship Earth” in the past to “thermal pollution,” ”global warming,” and “climate change” in the present. Drawing from both historical sources and contemporary usage on the Internet, In Popular Terms maps the catch phrases, scientific terminologies, and bumper sticker slogans that evince the evolving language we use to describe our relation to nature. mediaoriginalnon_commercial_share_alikearchivezipripmixburn http://openmuseum.berkeley.edu/media/files/as/2 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://openmuseum.berkeley.edu/media/files/kg/1 Wed, 24 Oct 2007 16:39:02 PST Ken Goldberg The ghost in the machine appears when thousands of Internet viewers attempt to control the mysterious movements of a single planchette in Ouija 2000. In contrast to most network-control systems, in which a single user controls a single robot, in Ouija 2000 multiple users come together to collaboratively control a single industrial robot arm. This suggests the Central Limit Theorem, developed by de Moivre and Laplace in 1812. This statistical theorem describes how independent random variables can be combined to yield an estimate that becomes more accurate as the number of variables increases. Ouija 2000 comments on mysticism and technology by posing the question of telepistemology: What can we know at a distance? The “ghost in the machine” appears when thousands of Internet viewers attempt to control the mysterious movements of a single planchette in Ouija 2000. In contrast to most network-control systems, in which a single user controls a single robot, in Ouija 2000 multiple users come together to collaboratively control a single industrial robot arm. This suggests the Central Limit Theorem, developed by de Moivre and Laplace in 1812. This statistical theorem describes how independent random variables can be combined to yield an estimate that becomes more accurate as the number of variables increases. Ouija 2000 comments on mysticism and technology by posing the question of telepistemology: What can we know at a distance? mediaoriginalnon_commercial_share_alikearchivezipripmixburn http://openmuseum.berkeley.edu/media/files/kg/1 http://creativecommons.org/licenses/by-nc-sa/3.0/