Turbulence.org Commission: How to Look at Artist Networks by Angie Waller, with Jonathan Butterick:
How to Look at Artist Networks allows you to search 60,280 names in the Google Knowledge Graph to see if they are more closely connected to Marcel Duchamp or Pablo Picasso. Fame has muddied their differences, but not too long ago Duchamp and Picasso signified two distinct strains of artistic practice. Pointing to the two of them as the progenitors of all modern/post-modern art can introduce amusing, and hopefully enlightening, associations: for instance, you might find yourself contemplating the similarities between Sarah Palin’s and Duchamp’s practices.
Angie Waller investigates collective longings that endure society’s technological advances. Her work combines data mining techniques and analog materials. Her research series, “Unknown Unknowns” (titled after a Donald Rumsfeld tautology), uses databases of web search engine traffic to uncover questions that one may have never thought to ask oneself. Included in this series is an eponymous email newsletter, a growing volume of auto-generated romance novels entitled “Love Unknown,” and text-based works on paper. Angie received her B.F.A. from The School of the Art Institute of Chicago and M.F.A. from the University of California, Los Angeles. Her work has exhibited in museums, festivals and galleries internationally.
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African Robots is a project by South African artist and researcher Ralph Borland to create interactive electronic street art. ‘Street art’ in this instance means art sold by people on the street, in South Africa and Zimbabwe – usually forms of handicraft using inexpensive materials like fencing and electrical wire, beads and waste wood, plastic and metal. The project focuses particularly on wire work, where artists make three dimensional forms from wire, using a cheap material to create complex results. Basic electronic components can with the necessary know-how also be used as cheap material for creating interactive sculptures.
For this presentation, Ralph Borland tells the story of the project to date, from buying cheap Chinese electronic toys in urban markets in Sao Paulo and hacking them into wire work toys for the Harare International Festival of the Arts in Zimbabwe, to designing custom electronics to activate the ideas of wire work artists on the streets of Cape Town. Ralph describes the ideas informing the project, which seeks to recover basic principles of mechanics and computing: from identifying topological ethnomathematics in the approach wire workers take to creating forms, to looking at the history of automotons - taking in figures such as Al Jazari, the 12th century Islamic inventor whose work is thought to have influenced Leonardo da Vinci.
This event was hosted by Professor Linda Doyle, Director of CONNECT / CTVR and Professor of Engineering and the Arts at Trinity College.
Peace! … I want you to know about new work. Your insight and any references you suggest I explore, are invaluable to my process of planning and actualization. Thank you in advance.
Krewe Coumbite is a sonic instrument of study in Black and Indigenous Diasporas ecology and vernacular rhythms documented from 1940s til current. The work focuses specifically on vernacular of cultural musings expressed in: noise, chants, stories, lullabies, narratives around naming, Cultural sayings/proverbs/recipes, and in working-class rituals such as public transit, migration, service work, and in community gatherings.
Startup support/funding for the work comes in partnership with Turbulence.org to create an interactive web portal. And with Harvestworks to research, document, and archive this idea of Black Sound. Some conceptual elements i am including are: GIS mapping, audiovisual gaming, algorithmic patterns, literary worldbuilding, sound remixing, and live performance.
My aim with this work is to produce a signature sound that carries the resonance of Black and Indigenous transcontinental movement and activism. Using the oral/aural algorithms of “passing it on” and “repetition is the mother of learning” as tools. I’m working with both original sound recordings, and stuff i’ve scavenged from the internet of sound produced from public marches, rallies, speeches, and viral videos. With remixing, I want this work to embody the cultural wisdoms of the Indigenous and Black Diasporas. Of particular interest to me are the articulations of Black and Brown working class individuals, community groups, and multi dialect/multi lingual freedom fighters.
Who should i talk with?
What archives(public & private) should i visit?
Are there historical and contemporary sonic nuances you feel must be included to contextualize th Black Sound and/or Cultural Wisdom?
Black is not a color. Black is an attitude – James Brown.
Worldbuilding is the process of constructing an imaginary world, sometimes associated with a whole fictional universe. The term “world building” appeared as early as 1965 in science fiction criticism, and is used in relation to science-fiction or fantasy stories and games. The resulting world may be called a constructed world. Developing an imaginary setting with coherent qualities such as a history, geography, and ecology is a key task for many science fiction or fantasy writers. Worldbuilding often involves the creation of maps, a backstory, and people for the world. Constructed worlds can enrich the backstory and history of fictional works, and it is not uncommon for authors to revise their constructed worlds while completing its associated work. Constructed worlds can be created for personal amusement and mental exercise, or for specific creative endeavors such as novels, video games, or role-playing games.
An informal definition for Algorithm could be “a set of rules that precisely defines a sequence of operations.”
Turbulence.org Commission: Killbox by Joseph DeLappe (US) and Malath Abbas, Tom deMajo and Albert Elwin (UK) [To "play" the game download the application to your desktop, and make sure your speakers are on.]
Killbox is an online interactive game that critically explores the nature of drone (Unmanned Aerial Vehicle, or UAV) warfare, its complexities and consequences. It is an experience that explores the use of technology to transform and extend political and military power, and the abstraction of killing through virtualization.
Modern warfare technology disguises the lethal nature of weapons as they become surgical precision instruments producing ‘clean’ destruction within acceptable limits of “collateral damage.” – Jill Berke*
“Killbox” is the Military term used to describe an area on a grid map that a mission planner designates a target to be destroyed. Kill Box involves audiences in a fictionalized virtual environment based on documented drone strikes in Northern Pakistan (executed via satellite from as far away as Las Vegas, Nevada).
The disintegration of the warrior’s personality is at a very advanced stage. Looking up, he sees the digital display (opto-electronic or holographic) of the windscreen collimator; looking down, the radar screen, the onboard computer, the radio and the video screen, which enables him to follow the terrain with its four or five simultaneous targets; and to monitor his self-navigating Sidewinder missiles fitted with a camera of infra-red guidance system. Paul Virilio **
Killbox is a 2015 commission of New Radio and Performing Arts, Inc. for its Turbulence.org website. It was made possible with funds from the National Endowment for the Arts (USA). Additional funding has been provided by The Phoenix Theatre (Leicester, UK); and The Cutting Room (UK).
Joseph DeLappe is an artist/activist with a substantial body of work on the subject of geopolitics and drones and is considered a pioneer in the nascent field of computer games and art. He is a Professor in the Department of Art at the University of Nevada where he directs the Digital Media program. Joseph is lead artist on Kill Box UAV; dealing with concept/content development, theoretical and historical research into drone warfare and primary lead on installation, development of publicity materials and archiving surrounding the project. Working with electronic and new media since 1983, his work in online gaming performance and electromechanical installation have been shown throughout the United States and abroad. In 2006 he began dead-in-iraq, typing consecutively all the names of America’s military casualties from the war in Iraq into the America’s Army first person shooter online recruiting game. DeLappe also created and directs the crowdsourced memorial project, iraqimemorial.org.
Malath Abbas is an independent game designer, artist and producer working on experimental and meaningful games. Since co-founding the award winning studio Quartic Llama, Malath is establishing Scotland’s first game collective and co-working space in order to support a community of independent game makers. His current work includes Kill Box, an online game and interactive installation that critically explores the nature of drone warfare, its complexities and consequences.
Tom deMajo is a digital artist, electronic musician and sound designer, and lead designer for project drone. Tom is responsible for unifying the conceptual, experiential, visual and audio aspects of the project, driving the aesthetics and sound in the game. Tom’s work has covered film, animation, games, sound installations and music. He has toured globally as part of electronic music duo Warp Technique, and is a co-founder of Quartic Llama; independent games company. He was designer, sound designer, composer and artist on the award- winning game “other” made with Malath Abbas and in partnership with the National Theatre Scotland. He has collaborated extensively with artists, practitioners and institutions in Scotland and locally such as National Theatre Scotland, Museum of Scotland, Sink, and recently Hot Chocolate and Scottish Dance Theatre. Tom has been regularly invited to contribute to NEoN Digital Arts Festival, and is Artist in Residence at Fleet Collective in Dundee.
Albert Elwin is an artist and programmer, responsible for developing the underlying code for the PD, networking and implementation of all art objects into the project. Originally from New Zealand, Albert now lives and works in Scotland. He studied Computer Games Technology at the University of Abertay Dundee and his career began when he took part in Abertay’s 2012 Dare To Be Digital competition. Albert co-founded Space Budgie, an independent games studio in 2013 where he lead the development of Glitchspace, a visual programming game, well known for its aesthetic and game design. Albert was invited to talk about Glitchspace at various international game festivals, most notably the Game Developer Conference in San Francisco in 2014. For the last 6 months Albert has been working on a wide range of projects and collaborations; developing digital experiments for testing human depth perception at St. Andrews University, an audio/visual digital instrument based on Harmonographs.
* From “War on Words: How Language Obscures Violence”
** From “War and Cinema”
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The Deep Sweep: High Altitude Signal Research by The Critical Engineering Working Group (Julian Oliver, Bengt Sjölen, Danja Vasiliev) is an aerospace probe scanning the otherwise out-of-reach signal space between land and stratosphere, with special interest placed in UAV/drone to satellite communication.
Taking the form of a high-altitude weather balloon, tiny embedded computer and RF equipment, The Deep Sweep project is being developed to function as a low-cost, aerial signal-intelligence (SIGINT) platform. Intended for assembly and deployment by public, it enables surveying and studying the vast and often secretive world of signal in our skies. Two launches have been performed so far, from sites in Germany, landing in Poland and Belarus respectively.
Turbulence.org Commission: text_ocean by Zannah Marsh [Optimized for Google Chrome]:
text_ocean is an experiment in random access reading and text visualization, using Herman Melville’s notoriously impenetrable whalefishery epic Moby Dick as source material. Selections of the text are blown apart and become a dynamic sea of words, animated according to grammatical function. The user “reads” the text by ‘hooking’ and releasing words and, in the process, disconnects them from their original lines. Thus Moby Dick is slowly, randomly rewritten by the user, word by word, as she reads.
Zannah Marsh is a Brooklyn-based artist, designer, educator, and programmer with an interest in narrative data and collaborative storytelling. She has taught multimedia art and design at New York University, the New School, and in the City University of New York system. Zannah was a resident researcher at NYU’s Interactive Telecommunications Program, and she’s interned with the Creative Systems Group at Microsoft Research and with Area/Code Games in New York City. She also worked as an exhibit developer at the Museum of Science in Boston, producing internationally-traveling interactive exhibits. She has a MPS from NYU’s Interactive Telecommunications Program (2009), and a BFA from the School of the Museum of Fine Arts in Boston (2000).
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