scr fol 1 from JODI on Vimeo.

Hello Word! – An evening of poetry, performance, and experimental text design from NYU/ITP’s Reading and Writing Electronic Text :: May 6, 2011; 7:00 pm :: Ground floor (Common room), 721 Broadway, New York, NY.

Over the course of Spring semester, sixteen NYU students have engaged in intense electro-textual experiments: composing, mangling, generating and remixing electronic text using the Python programming language. For one night only, these students will gather to present and perform their experiments to the general public.

Some examples of projects that may make an appearance at the event: movie dialogue remixed in real time; dynamic newspaper blackout poetry; an endless exquisite corpse from Twitter search results; infinite generative creation myths; and much more. Continue reading

[Image: The Border Memorial: Frontera de los Muertos by John Craig Freeman and Mark Skwarek] Mobile Art: The Aesthetics of Mobile Network Culture in Place Making :: February 22-25, 2012 :: College Art Association Conference, Los Angeles, California :: Call for Papers — Deadline: May 1.

The integration of mobile and locational technology into physical place has broadened the possibilities for the creation of new spaces of interaction and opened the disciplinary boundaries used to define and
understand the public arena. When real places are merged with virtual worlds, or augmented with interactive digital media, the result is a completely new “hybrid” environment where physical and digital objects coexist in real time. We seek proposals from artists, scholars, or interdisciplinary collaborative teams that engage art that incorporates cell phones, GPS, and other mobile technologies. Continue reading

Paolo Cirio, REALITYFLOWHACKED :: April 26 – May 20, 2011 :: Artist Talk and Reception: April 26; 6:00 pm :: Aksioma | Project space, Komenskega 18, Ljubljana, Slovenia. (Also see Sculpting the Flow of Reality by Bruce Sterling.)

Stories, interventions, tactics and concepts of social realities designed and perpetrated by the new media artist Paolo Cirio will be displayed together for the first time in a solo exhibition, including Face to Facebook (2011), P2P Credit Cards — Gift Finance (2010) and Open Society Structures (2009). Continue reading

Younes Baba-Ali: No Signal Found :: until May 21, 2011 :: ArteContemporanea, 22, rue des Chevaliers, 1050 Brussels, Belgium.

A parabolic antenna installed within the gallery bumps in vain into the wall. Switching on/off unpredictably, seven hairdryers panic: the air released by one makes the next swinging. The leads of three ball pens appear and disappear, as they are compulsively pressed by tireless, clenched hands. At regular intervals, a megaphone broadcasts a mysterious code, while a TV screen turned towards the wall stubbornly releases the blurred sound of a missing channel. Here and there, tools of our technological, networked and overconnected everyday life cacophonously switch on and off and answer to each other. Continue reading

Interactive Art Workshops with Don Ritter :: June 6 – July 14, 2011 :: Aesthetic Machinery, Berlin, Germany :: Call for Participants — DEADLINE EXTENDED TO JUNE 3. Continue reading

Upgrade! Paris #44 — Public presentation at the occasion of the exhibition Relaxation situationnelle, with The Wa & Jérôme Fino :: April 27, 2011; 5:00 pm :: Ateliers Lorette, 1 place Lorette – 13002 Marseille.

Technocratic management of public spaces considers the body as an object that interferes with flow regulation. Citizens are patronized, attacked by these anti-ergonomic devices. Space is degrading / degraded. Today, public space ceases to be a shared space. It embodies the violence of powers. — Gilles Paté

The french law of 21 January 1995 laid the foundation for the prevention of malice in the planning and construction. Continue reading

[Image: Julie Fotheringham and Jarryd Lowder, “2Face, Brooklyn, New York,” 2011] Low Lives 3 – International Festival of Live Networked Performances :: April 29, 2011; 8:00 pm – midnight + April 30; 3:00 – 6:00 pm [EST] :: Multiple venues world-wide + View the live performances online.

Low Lives 3 will feature more than fifty live performance-based works over two days, each transmitted over the web and projected in real time at venues across the globe, with a special spotlight on contemporary choreography. Low Lives has expanded its reach to thirty-four presenting partners in the United States, Mexico, Spain, Japan, Germany, India, Tanzania, Trinidad and Tobago, and Austria. Continue reading

Programmed Visions Software and Memory by Wendy Hui Kyong Chun, MIT Press:

New media thrives on cycles of obsolescence and renewal: from celebrations of cyber-everything to Y2K, from the dot-com bust to the next big things — mobile mobs, Web 3.0, cloud computing. In Programmed Visions, Wendy Hui Kyong Chun argues that these cycles result in part from the ways in which new media encapsulates a logic of programmability. New media proliferates “programmed visions,” which seek to shape and predict — even embody — a future based on past data. These programmed visions have also made computers, based on metaphor, metaphors for metaphor itself, for a general logic of substitutability.

Chun approaches the concept of programmability through the surprising materialization of software as a “thing” in its own right, tracing the hardening of programming into software and of memory into storage. Continue reading

Procedural :: May 6 – 29, 2011 :: Opening: May 6; 7:00 – 10:00 pm :: MacArthur B Arthur, 4030 Martin Luther King Jr. Way, Oakland, California.

Procedural is an exhibition of instruction-based works. Thirteen artists were invited to create new pieces in the form of instructions to be performed and fabricated by the curators, Jackie Im and Aaron Harbour. The resulting works are both products of the artists’ hand and their conceptualizing process, as well as representing the series of decisions made during production, in this case by Im and Harbour. The visible hand of the curators in each work directly implicates the curator as not just a supervisor but also as a collaborator. Procedural reflects on and questions the importance of the individual artists’ hand versus concept and explores artwork as a collaboration between artists, curators, fabricators, and audience. Continue reading