Sunday, November 30, 2008

Pravda , La Survireuse by Gye Peellaert

Guy Peellaert is dead in Paris on November 17 from an infection then a double heart attack following several years of self-dialysis (from a cancer which he had radically stopped since two years)

Belgian advertising illustrator Guy Peellaert was one of the first cartoonists to embrace Pop Art and incorporate Andy Warhol's appropriation of mass market iconography into his work. His first comic, Les aventures de Jodelle, (Jodelle's likeness based after yé-yé chanteuse Sylvie Vartan) appeared in 1966, swiftly followed by 'Pravda la Survireuse' (her visage modelled after Françoise Hardy) for the magazine 'Hara-Kiri' in 1967.
Peellaert recently art directed this animation, based on 'Pravda'.
The animation was made by Gallien Guibert from

After contributing a number of photo collage-based style strips to 'Hara-Kiri', Peellaert adopted a photo-realistic airbrush style and made a successful return to advertising and illustration; most notably on David Bowie's 'Diamond Dogs' LP cover and 'Rock Dreams', his collaboration with rock journalist Nick Cohn.

stockmarkets getting spiritual by Pekka Ruuska

mighty.god from Pekka Ruuska on Vimeo.

Monday, November 24, 2008

The Birth of Primary Cinema from the Spirit of Sound - Feature Article by Frank Rothkamm

on Furthernoise
It is about eleven o'clock in the morning in my studio in Los Angeles. I look out the window and stare at the Hollywood sign in the distance. The phone almost never rings. If it does, I pick up and nobody is on the line. After a while my mind drifts and a single thought forms in my head like a mantra:
As the rate of information is increasing, so is its comprehensibility decreasing.
I realize that this is especially true for motion pictures, arguably the first digital art form because they're made of single images floating by at the rate of twenty four frames per second. At this rate however, the perception is one of continuous motion. Because of the high rate of images per second, or, of information given per second, the brain (or let me use a Kantian term: the understanding) can no longer understand or process the single image. The development of the modern cinema in Hollywood has only increased the misunderstanding of the single image by constantly increasing the rate of events per second. When I turn on the TV, a SpongeBob SquarePants cartoon is interrupted by a commercial. The longer the show continues, the more often the commercials are shown. The scenes in these commercials are cut so fast and there are so many images per second that I have no idea of what I'm actually watching and thus, no idea what it is that I'm supposed to buy. I do not try to understand anything anymore, I just sit here and let the events pass by.
My eyes drift back to the Hollywood sign: Motion pictures are based on an illusion.

Female Icons by De Geuzen

Female Icons is a multifaceted project by the artist group known as De Geuzen.
On the project's website, each icon added to the site has her portrait added to the grid of oval images in the background of the page. When you click on an icon, you are taken to that page for that woman. There, the picture has a set of tags associated with it, and as you mouse-over the icon you have chosen, you can click on any of the tags, and see all the icons associated with that characteristic (i.e., 'writing' or 'radical'). There is a tag cloud on the project homepage, showing 'strength' as the most popular trait as of mid-September. If instead of clicking a tag you click directly on the icon, you are redirected to a Google image search of that person. The aesthetic of this project's archive reinforces the idea that an icon or representation is in itself a way of seeing. Seeing the symmetrical grid of images almost evoke a sense of uniformity - they are all of the same size but with radically different contents. De Geuzen does not shy away from the way in which we form collections and stories in the present in an attempt to understand the continuity of what it means to be female through acts of collection, homogenization, discussion, and disambiguation. This provides us with a collective means for seeing the female throughout history, and the resulting collection of hyperlinked media provides a way to draw comparisons and inferences that aren't always as available when we study a singular biography.
more projects by Geuzen:
Wearable Resistance:

Sunday, November 23, 2008

Disability Studies Quarterly

Automatic Projector Calibration

This callibration solution is a collaboration between people from Carnegie-Mellon, Mitsubishi Electric Research Lab and Stanford. Watch the video demonstration.

You can find more here (pdf) and here

Saturday, November 22, 2008

Video projection tools v2.1

The videoprojection tool was developed during a workshop that Hc Gilje gave for students of scenography, choreography and directing at KHIO in Norway june 2007, and further developed for the workshop he had at the medialab prado in Madrid may 2008 (including some features from the newly released max 5).
The workshops were an introduction to working with video as a tool for creating and transforming spaces: to thinking of video as light, and how you can mask a projection to project on multiple objects and surfaces within the projector´s projection angle and to exploit the depth of field in video projectors.
You can find more here:

Wednesday, November 19, 2008


Animata is a real-time animation software, designed to create interactive background projections for concerts, theatre and dance performances, and promotional screenings.The peculiarity of the software is that the animation is generated in real-time, making continuous interaction possible. This ability also permits that physical sensors, cameras or other environmental variables can be attached.The software can be connected with many pieces of external software in order to make use of the possibilities of these applications in the fields of image processing, sound analysis, or motion capture. These applications can analyse for instance sound input, or user movement, and this data could drive animations reacting to these environmental changes in real-time.
See also:


Jelly is a new way of developing websites that works to close the gap between web users and web developers.  The software, which is open-source, lives on the server of a user who maintains complete control over the data.  Jelly wraps all the complex data processes that are needed to develop interactive, data-driven, social websites, into a web development environment that looks and feels much like the web services that users are used to,  like Facebook, Flickr, or Youtube.    By working to make the experience of developing a web service as fluid, natural, and  beautiful as the experience of using a web service like Vimeo, Jelly hopes to empower the enthusiastic and creative class of web 2.0 service users to break free of static structures and begin to make the websites that they imagine.Basically, we offer a really fun, fluid, free  tool that eliminates many of the barriers to building and running an web service. The entire interface runs inside the browser, and no additional software is necessary.

Media-Space Journal Inaugural Issue
In this inaugural issue of Media-Space Journal, is included ten papers from the 7th International Digital Arts and Culture Conference (perthDAC 2007). Digital Arts and Culture (DAC) is the leading cross-disciplinary research conference series for the analysis of developments in the broad field of digital and new media. In September 2007, DAC was hosted as the key international conference in the public program of the Biennale of Electronic Arts Perth (BEAP) in Perth, Australia. BEAP showcases and critiques artworks that engage with new and novel technologies. The theme of perthDAC 2007 was The Future of Digital Media Culture.

Thursday, November 13, 2008

Crisis in the Credit System
Crisis in the Credit System is a four-part drama dealing with the credit crisis, written and directed by artist Melanie Gilligan.
A major investment bank runs a brainstorming and role-playing session for its employees, asking them to come up with strategies for coping with today's dangerous financial climate. While diligently pursuing this task, five individuals inadvertently role-play their way into bizarre make-believe scenarios forming disturbing conclusions about the deeper significance of the credit crisis and its effects beyond the world of finance.
Using fiction to communicate what is left out of documentary accounts of the crisis, the short, TV-style episodes reflect the strangeness of life today in which the financial abstractions which govern our lives appear to be collapsing.

Wednesday, November 12, 2008

Processing 1.0
Processing is an open source programming language and environment for people who want to program images, animation, and interactions. It is used by students, artists, designers, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool. Processing is an alternative to proprietary software tools in the same domain.
Processing is free to download and available for GNU/Linux, Mac OS X, and Windows.

Wednesday, November 5, 2008

"I video taped, as Team America fucked Allen Ginsberg"

By JanedaPain

America, is home of the Buffs, who Ruffies women during halftime.
America if I went to your game, I would wear a chastity belt and pasties.
America doesn?t see
McCain is like death warmed over, a day old Palin kill.
America we can?t go ?trick or treating? with toy guns after Columbine.
America, I can?t travel past the security gate with my buck knife after 9-11we can?t move our lids through the puffersseeking those bombs and anthrax for the 5 o? clock news.
America can we tighten those pants on the lonely flight attendants budge
America I want porn on the back of their seats tooI will wait to ejaculate in the lavatory, when the fasten your seatbelt sign is turnedoff.
America can u shove those numb chucks up her ass and twatas easily as the torch she totes?America can u remember the taste of day old cum, stuck to his cockwith the lingering of her pussy stench, dressing his skin like perfume?
America from my Grand-Mother?s bureau, where I found her vibrator and enema bag
I thought of how to create an American dream from
bottles of Old Spice and Passion in wake of my headache from
this American marketing nightmare, where brands supersede words and meaning.
America we are selling ourselves like the whores on Colfax and Sherman.
in T-shirts of Abercrombie and Fitch
America is but home to all us vermin.
squirming here at home, in our chains, America you've dried my veins.
and I've seen those bums drain theirs, a million times in corners along Broadway.
America you?ve tied me up again in my dress of red and blue.
America the ice has all melted and Mc Donald?s and Home Depot still spitsomehow we can?t get enough of this shit.
America I want to grow pot with your welfare
have LEAP pay for me to puff, fuck you and you government stuff.
America we are all Jon Bonnet and our daddies all have clubs.
America you kids sell dope in classrooms, on the cell phones you sold to them.
while DARE is a social nightmare, teaching our children to tell and not questionor maybe this was some sick and demented investment.
America our mothers are all on Prozac and Valium for being human, for being Women,
For not being the perfect woman, for being loathed in comparison to Barbie.
America are we here to fill the cattle cars waiting out side our cities?
America can you really tell me, what you are doing with your FEMA camps?
America my heals are digging into his headhe never should have said, those thing to her, or compromised her sexuality.
America home of the Brave, home of the 3.1 Trillion Dollar Insurance ?
Bail-out? Scam.
why do we keep this perpetual cycle of shit going
why do we keep buying into these games
America I hate to say it, I don?t have any faithand my vote won?t count anyway with electoral decay
the last was stolen, this one will likely never happen; I fear.America there is no home of the free, you only free to buy and say what you sold us?
I?m calling you out!
America, I can?t watch your syndicated news casts of Terrorism any longerit makes me sick to see the logo?s blinking in the corner of the
scrolling bar which determines how far your stick goes up my ass.
America I can?t smoke enough dope to deal with you.
once I?m stoned I can eat your pop tarts and snickers, but not until sufficiently
medicated from the nonsense on the TV.America our prisons will soon out number our schools
what are your rules, really I?m confused; or is it, we are all just used?
America the only Bush worth digging is my mothers pussy and even that?s stale with contented homogony.
America 9-11 was amazing in so many ways
It was the most profound guerrilla installation, movement ever executed by man it was the most profound statement since my death, I stood horrified and captivated with history, with conspiracy, so blatantly derived from the response to our petrol depths of greed which exceed our perceived freedom.
America why are we so deranged?
America why do we seek revenge for something we created, for a world we developed
with our plastics and shops of diversity.
America you know Obama won?t live 30 days past inauguration. He is but a product sold to us in anticipation of his Martyr-ship; you can?t let a nigger be president, let alone a woman or queer.
America we are stuck in this system of pavement and genitals, we are stuck with thecoats whom hide their pricks below Giorgio Armani Jackets and designer shoes.
America have we all gone insane?
America is this not a hate crime, our victimization of the socially determined?
America terrorism is not Steven Kurtz, Banksy, or the YesMen, it is our commercial industry, it is the fear I should have of doing certain things in front of our children.America, will we let Social Services run away with them, because we choose to not participate in their games of ?
morality? and socio-economic profiling?
America this is quite serious.America we have to prepare for the coming shift,we can?t go on like this, our ?
doomsday? is approaching America, wake up. America.
America the Apocalypse is near, there is no guide.
America at any moment the lights could go out, the troops could come and secure us from ourselves.
America we don?t have a moment to waste, it is our duty to serve and protect, it is ourright and duty to bear arms and defend our liberties that washed away with the Clorox and Downy they sold me on isle 15b of the Safeway at Meadows Park.
America there will be no more South Park and Married with Children as we know itthe Budweiser in the fridge will not be mass produced in our futures; we hope.
America we can not continue to breathe this manufactured airthere is no synthetic lung to compose me, and the Catholics, Muslims and Buddhist still can?t agree on my state of being, when I have already been.
America it doesn?t really matter as long as there is ?
Cheech and Chong? and a good laugh.America I have to quit writing this poem, it is distracting me from the timeand its 4:20 pm Saturday, and all I have is useless paper bills, refried beans in a can from Taco Bell, and this pot that my poetry distracts me from.-

Boulder, Colorado 2008

In Honor of Election Day, Jane Crayton aka JanedaPain present this American Poem....
A poem created in retrospective to Allen Ginsberg's America.

Disability Aeshetics 3

The Body and Physical Difference: Discourses of Disability in the Humanities (The Body in Theory: Histories of Cultural Materialism) by David Mitchell (Editor), Sharon Snyder (Editor),+In+Theory:+Histories+of+Cultural+Materialism)&hl=el#PPR11,M1

Choreographing Difference: Body and Identity in Contemporary Dance by Ann Cooper Albright

Meaning in Motion: New Cultural Studies of Dance (Post-Contemporary Interventions) by Jane Desmond (Author),M1

Tuesday, November 4, 2008

Here It Goes Again by OK Go

Immersive Sight Within the Third Space: Augmentation and Spatial Interface in exhibition space

by Jeremy Hight
Our field of vision is a continual, multi-tiered number crunching. Bicameral sight is always being processed , interpreted, reacted to, adjusted for focus, comparisons made. It simply is always running as an immersive, multi layered interaction of information and movement in a space.

Monday, November 3, 2008

Disability and Poetics

Read this wonderfull conversation on "Disability and Poetics" in Amber DiPietra 's Blog

Media & Disability Bibliography Project
and "Topics in Disability Studies" (Real Audio recordings)
Journal of Literary Disability

Disability Aesthetics 2

Theology and Down Syndrome

Toward an Aesthetics of Blindness: An Interdisciplinary Response to Synge, Yeats and Friel (New Studies in Aesthetics)

Bodily Perception

Digital Performance Archive