http://kahlo.bampfa.berkeley.edu/cchost/media/ en-US Thu, 13 Dec 2007 00:58:36 PDT Thu, 13 Dec 2007 00:58:36 PDT http://kahlo.bampfa.berkeley.edu/cchost/media/files/ephemeralflame/44 Thu, 13 Dec 2007 00:58:36 PDT Max Ebert My favorite part about 24h00 is looking into the lives of other people. In my project, I take the same format as Grancher (force people to document themselves once an hour for 24 hours) but take away the restrictions. I let people express themselves creatively any way they wanted. The finished product is an intimate look into the minds's of others: random thoughts, intimate concerns, creative ideas, daily habits, and much more in their rawest forms! Note: Version 1! I'm planning on adding more people. My favorite part about 24h00 is looking into the lives of other people. In my project, I take the same format as Grancher (force people to document themselves once an hour for 24 hours) but take away the restrictions. I let people express themselves creatively any way they wanted. The finished product is an intimate look into the minds's of others: random thoughts, intimate concerns, creative ideas, daily habits, and much more in their rawest forms! Note: Version 1! I'm planning on adding more people. mediaremixnon_commercial_share_alikevideomov32kstereo114kbpsripmixburn24h00ripmixburn_remixpeopleemotionscollaborationremixburn http://kahlo.bampfa.berkeley.edu/cchost/media/files/ephemeralflame/44 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/jennbai/43 Wed, 12 Dec 2007 22:29:50 PDT jennbai mediaremixnon_commercial_share_alikeimagegif24h00ripmixburnseriespeople http://kahlo.bampfa.berkeley.edu/cchost/media/files/jennbai/43 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/ceciliamcontreras/35 Tue, 11 Dec 2007 13:16:41 PDT ceciliamcontreras remixed movie version of Michael Joaquin Grey's work in BAM show remixed movie version of Michael Joaquin Grey's work in BAM show mediaremixnon_commercial_share_alikevideomov48kstereo3kbpsripmixburnripmixburn_remix http://kahlo.bampfa.berkeley.edu/cchost/media/files/ceciliamcontreras/35 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/aimeesun/34 Tue, 11 Dec 2007 12:54:40 PDT aimeesun extracted images presented through a virtual slideshow on slide.com extracted images presented through a virtual slideshow on slide.com mediaremixnon_commercial_share_alikevideoavi44kmonoCBRripmixburn24h00slidecom http://kahlo.bampfa.berkeley.edu/cchost/media/files/aimeesun/34 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/aimeesun/33 Tue, 11 Dec 2007 12:33:20 PDT aimeesun extracted images from 24h00 become remix mcgee on facebook extracted images from 24h00 become remix mcgee on facebook mediaremixnon_commercial_share_alikevideoavi44kmonoCBRripmixburn24h00facebook http://kahlo.bampfa.berkeley.edu/cchost/media/files/aimeesun/33 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/aimeesun/32 Tue, 11 Dec 2007 12:07:50 PDT aimeesun remix of grancher's work and my own artwork, presented on youtube. remix of grancher's work and my own artwork, presented on youtube. mediaremixnon_commercial_share_alikevideoavi44kmonoCBRripmixburn24h00youtube http://kahlo.bampfa.berkeley.edu/cchost/media/files/aimeesun/32 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/ksharifi/25 Tue, 04 Dec 2007 13:54:11 PDT ksharifi Inspired by In Popular Terms, this project is a survey of the use of terms "war" and "peace" in news archives. The year is always ends with a 3 since the war in Iraq started in 2003. The decades are chosen based on availability of archived data. Inspired by In Popular Terms, this project is a survey of the use of terms "war" and "peace" in news archives. The year is always ends with a 3 since the war in Iraq started in 2003. The decades are chosen based on availability of archived data. mediaremixnon_commercial_share_alikevideoswfwarpeacepopular_termsripmixburnkiana http://kahlo.bampfa.berkeley.edu/cchost/media/files/ksharifi/25 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/mg/16 Fri, 26 Oct 2007 17:29:24 PDT 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://kahlo.bampfa.berkeley.edu/cchost/media/files/mg/16 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/vg/15 Thu, 25 Oct 2007 18:11:43 PDT 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://kahlo.bampfa.berkeley.edu/cchost/media/files/vg/15 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/nw/12 Thu, 25 Oct 2007 18:02:57 PDT 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://kahlo.bampfa.berkeley.edu/cchost/media/files/nw/12 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/jk/8 Wed, 24 Oct 2007 19:17:39 PDT 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://kahlo.bampfa.berkeley.edu/cchost/media/files/jk/8 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/as/2 Wed, 24 Oct 2007 17:46:34 PDT 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://kahlo.bampfa.berkeley.edu/cchost/media/files/as/2 http://creativecommons.org/licenses/by-nc-sa/3.0/ http://kahlo.bampfa.berkeley.edu/cchost/media/files/kg/1 Wed, 24 Oct 2007 16:39:02 PDT 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://kahlo.bampfa.berkeley.edu/cchost/media/files/kg/1 http://creativecommons.org/licenses/by-nc-sa/3.0/