Larry Wilson wrote this generous article about the Computational Literature panel with Nick Montfort and Eran Hadas at CalTech I was honored to join early last week. The student who asked why my process is so inefficient really made my day–one of the best questions I’ve ever had to field about art-making.
THE OC WEEKLY favorably covered my exhibition in the Grand Central Arts Center Project Room in last week’s printed edition. In Jail Benches and Amazon.com at Santa Ana’s Grand Central Art Center Dave Barton understood the project as “a deceptively simple take on low-wage jobs.”
I captured the above video to showcase the hand-drawn aspect of the exhibition, which Barton described as “chalked out on the floor of the gallery, using the natural lines of the black utility tile to provide something akin to a giant piece of lined paper, with the worker’s feedback done in cursive or block letters.”
Seen and heard below: A time-lapse video created on the night of the opening showcases the fragile nature of the “unencrypted data” on the floor of the gallery while the Mturk workers chant in unison (my digital post-production mediation). Barton wrote, “The now ephemeral quality of work (and lack of security that comes with it) reveals itself on the installation itself. Patrons have to interact with the misery of the workers represented: If they want to read what has been written, they have to stand on other words to do so. Those words—and the work represented by those words—slowly becomes an indecipherable blur of white chalk dust after enough people have shuffled through it.”
I visited my office mailbox for the first time since last December and was delighted to find a super review of Net Works by Karie Hollerbach in the Visual Communication Quarterly April-June volume. It would be a copyright infringement for me to post the review in its entirety here, but my favorite snippet is this:
“The result is a lively and successful interplay that clearly relates theoretical constructs to the actual practice-based act of creating new media projects.”
The spring issue of Viewpoints, the official newsletter of the visual communication division of AEJMC includes details of Visual Communication on the Web. See page 6 of Volume 13, Issue 1.
This year I am a recipient of a TERMINAL net art commission that I used to create a series of poem interpretations for the browser.
Three classic works of literature from the 20th Century (“O Captain, My Captain”, “On the Road”, and “Waiting for You at the Mystery Spot”) are remade for the browser using the language of the web (HTML5 and CSS) as the primary agent of transformation. In the translated poems, I am not interested in writing the foundational text for the poetic experience. Instead, I wanted to design a web user’s visual experience of the works. The works adhere to the confining graphic formatting rules of current web standards, and include text, hypertext, images, videos, and audio.
Chiara Ciociola wrote a nice review of the Mechanical Games for Neural today. I especially like this idea, “Choosing the Mechanical Turk service (also featured Burrough’s previous work “Mechanical Olympics”) is not new in net art. But here its mechanisms are not exaggerated to emphasize the rotten side, as in Sheep Market by Aaron Koblin. The use of such tools as the Mechanical Turk platform and viral video (this one already a standard in the internet marketing business) here is an ironic trick. The goal is to restore a spontaneous production network, as a strong place for virgin ‘immaterial labor’, able to sublimate the frozen and heavy capitalist logic.” Cheers, Chiara.
Sylvia Masuda, a former student of mine (Comm 358 and Comm 317) at Cal State Fullerton won third place in the AEJMC Logo Competition. The logo was made for the annual conference taking place in Denver, 2010. I assigned the competition as a final exam in Sylvia’s class and encouraged her to make a few revisions during inter-session before entering her work to the competition. I won’t tell you how quickly she drew the logo; and I’m so proud of her for placing in the contest. Next year we’re taking first.