| |
Zinhar
5/2005
• concept/design: babel
• contributors: serkan isin, derya vural, deniz tuncel, baris
cetinkol, asli serin, abraham abulafia, keith martin, escha
• language: turkish/english
• technical: flash 6+, requires online access
391.org issue 37 - web art/visual poetry.
"Imagine a day when any living thing can be identified accurately
and rapidly to the species level using a hand-held device the size
of a cellular phone. A day when the biodiversity of an entire nation
can be inventoried and monitored... thanks to an ambitious effort
by a growing consortium of scientists, it is poised to become reality.
The method that will enable this advance is 'DNA barcoding', an
approach that employs a small fragment of DNA, a portion of a single
gene, to provide a unique identifier - a 'DNA barcode' - for each
living species on Earth." - Barcode of Life
391-37: Zinhar is a collaboration between Zinhar.com and 391.org
representing a bioscan in slow motion, complete with the inevitable
delays, errors and complications that are missing from the rosy
picture of species barcoding suggested above.
PQPQ
3/2005
• language: portugese/english
• technical: flash 6+, plays offline
Digital poem, music.
Online/Offline
11/2004
• artists: babel, cris bevir, Jane Draycott, Simon Keep
• language: english
• technical: flash 6+, requires online access
Collaborative narrative with text, images, video and audio soundtrack.
Starting with a mysterious invitation to select an object from the
Pitt Rivers museum in Oxford, England, four artists set off on a
trail which crosses continents and seas, times and religions, tracing
a creative and narrative journey for Online/Offline - a project
developed for Incubation3 ( http://trace.ntu.ac.uk/incubation )
with funding from Arts Council England.
Online/Offline is an experiment in creating collaborative narrative
online. Taking the project title as a starting point, the artists
are examining what happens when four individuals unknown to each
other create an online project from scratch. They worked in an open-ended
way to produce a text and soundtrack which forms the core of the
project. They are also exploring the possibilities and limitations
of an online/offline collaboration, including an open invitation
for readers to add their own texts, images and sounds around the
central narrative. Writers Jane Draycott, cris bevir, babel and
digital audio artist Simon Keep began their collaboration in March
2004, using a private forum, emails and messenger chats. They performed
their work-in-progress live at Incubation3 in July 2004, inviting
feedback from the audience which has been incorporated into the
final piece. Transcripts of all the conversations between the artists
are presented alongside the final piece, making this a unique record
of an online collaboration.
The idea of a trail, a thread or a labyrinth became a key metaphor
for this creative and narrative journey. The Labyrinth is an archetype,
a divine imprint, found in all religious traditions in various forms
around the world. It has only one path - there are no tricks and
no dead ends. The path winds throughout and becomes a mirror for
where we are in our lives.
Although this piece is complete, the artists see the Online/Offline
process as something that will continue past this experience. They
would like to duplicate the process elsewhere as a group, as a means
to encourage both communication and digital creativity, regionally
and/or internationally. • Seoul Net Festival 2005, Seoul,
Korea (5/2005)
• Created for the Incubation 3 symposium, Nottingham, UK (7/2004)
• frAme journal (11/2004)
Eisenstein's Monster
10/2004
• language: none
• technical: flash 6+, plays offline
Make your own video monsters - 'Eisenstein's Monster' is a participatory
video piece, a tongue-in-cheek coupling of Mary Shelley's 'Frankenstein'
and the montage theories of Sergei Eisenstein. • The Web Biennial
2005, Istanbul Contemporary Art Museum, Turkey (5/2005)
• BathHouse: The Contagion Issue, Vol. 3, No. 1 (3/2005)
• Thailand New Media Arts Festival 2005 (MAF05_FEB), Bangkok,
Thailand (2/2005)
• Museum of the Essential And Beyond That, (2/2005)
• shortlisted for Third Place Award (11/2004)
• Fraenkelstein Art Projects, Sala verde da Casa de Cultura
Humanista and Casa do Mini, Rio de Janeiro, Brazil; Espaço
branco do Olho, Olinda, Pernambuco, Brazil (11/2004)
Dadaventuras
2/2004
• concept/design: babel
• illustration: maria colino
• language: spanish/english
• technical: flash 6+, plays offline
391.org issue 34.
Dadaventuras is an experiment in aleatory narrative, using comic
book conventions to generate stories from 8 distinct but overlapping
perspectives.
The history of the comic begins whenever pictures and words were
first combined in narrative. This form of communication became commonly
used and recognizable thanks to the development of the printing
press, but the first 'comic' - employing the still familiar speech
balloon or bubble - is commonly noted as Richard Felton Outcault's
'The Yellow Kid' in 1896.
The language of our narrative is hybrid (from the greek 'hybris',
outrage or violation): composed of parts from different languages,
in this case our own blend of 'spanglish'. This intentionally recalls
the Dadaists use of nonsense to express dissatisfaction with a world
society that continued its insane addiction to war. But don't feel
limited by our nincompoopery. You can use your own text as the basis
for the generated narratives, or one of 8 classic texts, or just
turn the text off completely and make the story up in your head.
• FLUXUS 2005 - 5th International Film Festival On The Internet,
Brazil (5/2005)
• Thailand New Media Arts Festival 2005 (MAF05_FEB), Bangkok,
Thailand (2/2005)
• Special Mention, 3rd Annual Gangart Awards, Australia (10/2004)
• VI Salon Internacional de Arte Digital, Cuba (6/2004)
• Random (4/2004)
Die Fliegen
4/2003 (last updated 8/2004)
• concept/design: babel
• contributors: hugo ball, evoeh, escha romain, inese vepa
• language: german/english
• technical: flash 6+, plays offline
391.org issue 33 - dynamic/interactive environments.
A Dadaist adventure inspired by Hugo Ball's 'Flight out of Time'.
Simultaneous & phonetic poetry, interactive/dynamic audio and
text, animation. • Electronic Language International Festival
(FILE) 2004, São Paulo, Brazil (11/2004)
twentythree
2/2003 (last updated 8/2004)
• concept/design: babel
• contributors: charlie chaplin, benny goodman, gale henry,
max linder, mabel normand, panoptica
• language: english
• technical: flash 6+, plays offline
391.org issue 32 - interactive/linear video, music.
391 at the speakeasy. No issues of 391 were published in 1923: 391.org
speculates what Francis Picabia may have been doing in his time
away. • Electronic Language International Festival (FILE)
2004, São Paulo, Brazil (11/2004)
• neural.it review (4/2003)
Animalamina
8/2003 (last updated 2/2004)
• concept, design, poetry, programming, music: babel
• illustrations: binnorie, maria colino, michael e. crawford,
clare drapper, heather lynn gordon, iceni, william logsdon, phage,
vicky rimell, dan smith, claire webb, xenophon
additional vocals: binnorie and iceni
• language: english
• technical: flash 6+, plays offline
Children's digital poetry.
A collection of interactive digital poetry for children, designed
to introduce a younger audience (ages 5 - 11) to a variety of styles
of digital poetry, animation and interaction through the traditional
format of an animal A-Z.
The poems are hidden in 26 (A-Z) interconnected scenes that the
reader/user reveals through various types of interaction. The reader
is free to choose their own path through each scene, and the direction
in which they progress to another scene. Progress into new scenes
is rewarded by the corresponding letter and the ability to jump
back to that scene at choice. Each scene has been designed to be
different from the others in the style of narration, illustration
and interaction, to create a series of unique environments that
are exciting to traverse and uncover. • Moolix in Fraenkelstein
Art Projects, Espaço durex, Sala verde da Casa de Cultura
Humanista and Casa do Mini, Rio de Janeiro, Brazil; Espaço
branco do Olho, Olinda, Pernambuco, Brazil (11/2004)
• Narwhal and Zebra in Electronic Language International Festival
(FILE) 2004 with 404, São Paulo, Brazil (11/2004)
• Channel 4 Ideasfactory / trAce TEXTLAB digital writers tour,
Glasgow, Edinburgh, Dundee, UK (7/2004)
• VI Salon Internacional de Arte Digital, Cuba (6/2004)
• Thailand New Media Art Festival, Bangkok, Thailand (3/2004)
• Jury Recommended Work, Japan Media Arts Festival (Entertainment
Division), Tokyo Metropolitan Museum of Photography, Japan (2/2004)
• 17th Stuttgarter Filmwinter, Stuttgart, Germany (1/2004)
Patinage
11/2002 (last updated 9/2003)
• vocal: binnorie
• language: french, english
• technical: flash 6+, plays offline
Participatory video/animation, music.
In 1913, Anton Bragaglia contrasted his notion of a futurist 'Photodynamism'
with cinematography and chronophotography: "We are not interested
in the precise reconstruction of movement, which has already been
broken up and analysed... only in the area of movement which produces
sensation." Photodynamism records images in a distorted state,
"since images themselves are inevitably transformed in movement".
As 'Videodynamism', Patinage updates these ideas to represent the
motion of the subject in space over time and the motion of the screen
upon which the subject is depicted; the movement of the eye, and
the dynamism of screens in a digital environment. • Electronic
Language International Festival (FILE) 2004 with 404, São
Paulo, Brazil (11/2004)
• Selected Work, Mad '03 Net Digit, Madrid, Spain (11/2003)
• Perspectives'03 finalist and Perspectives of Excellence
Award, Computer Space Festival 2003 and Goethe Institut-Internationes,
Sofia (Bulgaria, 10/2003)
• TRANZTECH International Media Art Biennale, Toronto, Canada
(10/2003)
• Electronic Language International Festival (FILE) 2003,
São Paulo, Brazil (8/2003)
• Lancaster Film & New Media Festival, UK (7/2003)
• Red Dot gallery, Terminus1525, Canada (7/2003)
• V Salon Internacional de Arte Digital, Cuba (6/2003)
• Audience Selected Work, Chiangmai First New Media Art Festival,
Thailand (4/2003)
• JavaMuseum's 'I-Highway' feature, Germany (4/2003)
acronymphomania
8/2002
• language: english
• technical: html, plays offline
Generated and interactive kinetic/aleatory poems.
The linguistic origin of the word acronym is the greek akros (tip)
plus onym (name), but the word itself has an uncertain history.
It was possibly born of war: the OED has no mention of the word
until the 1972 supplement (which places its origin in 1943). Of
course acronyms existed before the word used to describe them (for
example, Louis Aragon’s 'FMRL' - 'ephemeral' - in his Paris
Peasant of 1924), but it was not until the last quarter of the 20th
century that acronyms began to dominate everyday life, with companies,
organisations, and even individuals using sequences of letters to
represent themselves.
The brevity, speed and impact of acronyms gives them a particular
value in the current age, a value which reaches beyond the symbolic
in the hands of organisations who desire the most efficient implantation
of 'brand'. The process has been further accelerated by the gold-rush
and subsequent exhaustion of short WWW addresses; by increased use
of abbreviation in e-mails and chatrooms; and by the explosion in
mobile text messaging (SMS) that has occurred in the early part
of the 21st century, which by limiting messages to a small number
of characters helps fuel a practical need for a common language
of abbreviations.
Acronymphomania uses a process of aleatory dynamic motion and text
generation to suggest the continuing qualitive changes in the speed
of our society, and the fetishization of letters that occurs through
abbreviation. Stylistically it is indebted to the morphological
and spatial manipulations of the Russian Futurists, particularly
Aleksei Kruchenykh and Vladimir Mayakovsky, who were the amongst
the first to observe (create?) the fetish of the letter. •
Electronic Language International Festival (FILE) 2003, São
Paulo, Brazil (8/2003)
• Brisbane wRiters Festival type slowly e-vent, Australia
(10/2002)
soundgarden
8/2002
• language: none
• technical: flash 6+, plays offline
• concept/design: babel
• film: Roger Hangarter/Indiana University (2000)
• vocal: binnorie
Participatory video/music. • Electronic Language International
Festival (FILE) 2004 with 404, São Paulo, Brazil (11/2004)
• Red Dot gallery, Terminus1525, Canada (7/2003)
• Plants in Motion, Indiana University Dept. of Biology, USA
(from 9/2002)
Turnbaby
7/2002
concept/design: babel
source video & music: edison, b'toch bet
• language: none
• technical: flash 6+, realplayer, plays offline
Participatory video/animation, music video.
The key theme of this piece is the concept of turning (round and
into), as represented on both the physical and digital stages. Turnbaby
begins as a sonic zoetrope, a digital rendering of the 'wheel of
life' invented by Horner in 1834 to recreate motion using a series
of images placed on a rotating drum. To create an illusion of motion,
the drum is spun; the faster the rate of spin, the smoother the
progression of images.
Beyond the zoetrope, a larger nine scene wheel transforms the contemporary
dance sequence via two 100 year old clips, early cinematic experiments
made by Thomas Edison. Through dynamic random and user-generated
interaction, the dancers move in a fragmentary way. Sometimes they
remain static, and it is the degradation of their image that dances.
As they pirouette, they change form; this process is echoed by the
pirouette of each digital scene.
The result is a dynamic on-screen play of image, frame and movement;
a conflicted theatre or a fractured cinema of many parts. Here,
the viewer is an active participant in the creation (and illusion
of) motion that defines the history of the moving image, from early
visual toys such as the zoetrope through cinema, and now in digital
dynamically generated and interactive form. • Sequences, Furniture
Works, London, UK, UK (03-04/2005)
• Sequences, Peterborough Museum and Art Gallery, UK (11/2004
- 2/2005)
• Electronic Language International Festival (FILE) 2003,
Brazil (8/2003)
• La Isle Festival, Rio de Janeiro, Brazil (7/2003)
• JavaMuseum's 'Highway' feature, Germany (4/2003)
• Video Marathon 6, Chisinau, Moldova (12/2002)
• Primer Cyborg Festival, Valencia, Venezuela (11/2002)
• Rhizome Artbase (from 10/2002)
• Istanbul Contemporary Art Museum iS.CaM Open, Turkey (9/2002)
• Palimpsest Project, Stasis_Space (9/2002)
• Window, Auckland University, New Zealand (8/2002)
• Whalelane 3 (8/2002)
Battlefield Icon
6/2002
• language: none
• technical: html, plays offline
Dynamically generated images.
A reduction of graphic violence to a meaningless and never-ending
series of battles between two armies, who appear either side of
the wire in an infinite progression of icon platoons. Giant Icon
Generals also roam the battlefield, directing the chaotic movements
of troops (and chasing you, the viewer, who is assumed to be a hostile
'embedded' observer). • [R] [R] [F], Images Festival, Toronto,
Canada (4/2005)
• [R] [R] [F], 404 - Electronic Art Festival, Juan B. Castagnino
Art Museum, Rosario, Argentina (12/2004)
• [R] [R] [F], Electronic Language International Festival
(FILE) 2004 (11/2004)
• [R] [R] [F], 1st International Exhibit of Digital Art -
ORILLA#04, Museum of Contemporary Art/Foro, Universitario Santa
Fe, Argentina (11/2004)
• [R] [R] [F], 24h International Shortfilm Festival, Nuremberg,
Germany (10/2004)
• [R] [R] [F], Biennale of Electronic Art, Perth, Australia
(9/2004)
• [R] [R] [F], West Coast Numusic & Electronic Arts Festival,
Stavanger, Norway (8/2004)
• [R] [R] [F], public_space_festival, Yerewan, Armenia (7/2004)
• [R] [R] [F], VI Salon Internacional de Arte Digital, Cuba
(6/2004)
• [R] [R] [F], The International Festival of New Film/New
Media, Split, Croatia (6/2004)
• [R] [R] [F], Basics Festival, Salzburg, Austria (5/2004)
• Iconography, Turbulence (1/2004)
strAngel
5/2002
• vocal: binnorie
• language: english
• technical: quicktime, plays offline
Music video.
,egnarts saw legna eht the angel was strange,
em delgnarts ti it strangled me
a ,ylegnarts strangely, a
,legnarts strangel,
legnarts a a strangel
ti ,em delgnarts strangled me, it
.egnarts ,legna eht saw was the angel, strange. • Projeto
Subsolo, Rio de Janeiro, Brazil (11/2004)
• Electronic Language International Festival (FILE) 2004 with
404, São Paulo, Brazil (11/2004)
• Artifacts 12 (10/2004)
• switch media_ art festival 'Pathiharn Electron', Goethe
Institut, Bangkok, Thailand (4/2004)
• Electric Rainbow Coalition Festival, Hanover, NH, USA (8/2003)
• La Isle Festival, Rio de Janeiro, Brazil (7/2003)
• Art Sheffield 2003, UK (3/2003)
• Artifacts 10 (3/2003)
• Video Marathon 6, Chisinau, Moldova (12/2002)
• Artmedia 2002, Buenos Aires, Argentina (11/2002)
• Fluxus International Film Festival, Brazil (10/2002)
• Whalelane 4 (10/2002)
• AugustArt Festival, New York, USA (8/2002)
manifestants, police, politiciens
(protesters, police, politicians)
4/2002
• language: french, english
• technical: html, plays offline. Please ensure popup windows
are enabled.
Dynamically generated images and text.
A study of the Summit of the Americas and accompanying anti-globalisation
protests that took place in Québec in April 2001. The dynamic
'camera' windows represent the three opposed groups (manifestants,
police, politiciens), as observed by both the participants of the
events and the omnipresent media, who made these the most photographed,
filmed and discussed protests since the initial anti-WTO (World
Trade Organization) actions in Seattle 1999. Behind the cameras,
words are fractured and obscured, just as the arguments from all
sides in Quebec City became lost in media overkill, reduced to meaningless
soundbites and slogans. • [R] [R] [F], Images Festival, Toronto,
Canada (4/2005)
• [R] [R] [F], 404 - Electronic Art Festival, Juan B. Castagnino
Art Museum, Rosario, Argentina (12/2004)
• [R] [R] [F], Electronic Language International Festival
(FILE) 2004 (11/2004)
• [R] [R] [F], 1st International Exhibit of Digital Art -
ORILLA#04, Museum of Contemporary Art/Foro, Universitario Santa
Fe, Argentina (11/2004)
• [R] [R] [F], 24h International Shortfilm Festival, Nuremberg,
Germany (10/2004)
• [R] [R] [F], Biennale of Electronic Art, Perth, Australia
(9/2004)
• [R] [R] [F], West Coast Numusic & Electronic Arts Festival,
Stavanger, Norway (8/2004)
• [R] [R] [F], public_space_festival, Yerewan, Armenia (7/2004)
• [R] [R] [F], VI Salon Internacional de Arte Digital, Cuba
(6/2004)
• [R] [R] [F], The International Festival of New Film/New
Media, Split, Croatia (6/2004)
• [R] [R] [F], Basics Festival, Salzburg, Austria (5/2004)
• [R] [R] [F], Electronic Art Meeting, Pescara, Italy (5/2004)
• [R] [R] [F], Version>04 Festival, Chicago, USA (4/2004)
• [R] [R] [F], NowMusic Streaming Festival, Berlin, Germany
(4/2004)
• [R] [R] [F], Bergen Center for Electronic Arts, Norway (3/2004)
• [R] [R] [F], Museum of Contemporary Art / Kalinderu MediaLab
Bucaresti, Romania (3/2004)
• Recommended work, 9th Art on the Net, Machida City Museum
of Graphic Arts, Tokyo, Japan (1/2004)
• Globalization, wigged.net (1-6/2004)
• Silver place, 2nd Annual Gangart Awards, Australia (10/2003)
• Electronic Language International Festival (FILE) 2003,
São Paulo, Brazil (8/2003)
• Royal Gardens Open-Air new media art show, Copenhagen (Denmark,
8/2003)
• Nonetart Festival, Arte Digital Rosario 2003, Rosario, Argentina
(8/2003)
• Fibreculture Conference 2003, Brisbane, Australia (7/2003)
• iS.CaM Net.Art 2003, Istanbul Contemporary Art Museum, Turkey
(6/2003)
• PEAM 2003 Electronic Art Festival, Pescara, Italy (5/2003)
• Chiangmai First New Media Art Festival, Thailand (4/2003)
• JavaMuseum's 'I-Highway' feature, Germany (4/2003)
• New Media Nation: Festival of Festivals, Bratislava (Slovakia,
2/2003)
• e-magic cybermedia events, 43rd International Film Festival,
Thessaloniki (Greece, 11/2002)
• Computer Space Festival 2002, Sofia (Bulgaria, 10/2002)
• Liverpool Biennial , UK (9-12/2002)
• A Virtual Memorial & NewMediaArtProjectNetwork Festivals
(9/2002 - present)
• Violens Festival, Tabor, Czech Republic (8/2002)
|
