| ::This animation of illustrated stills does a pretty good job at explaining the basics of Creative Commons in about five minutes. The intro may be a bit long, but other than that it is well produced. It is a good resource to introduce Creative Commons to people who may not have heard about it.
Still from video documentation, available at Dropbox
The Rotten Machine (La Maquina Podrida) is currently on display at the MEIAC, in Badajoz, Spain. On the 8th of May 2004, Brian Mackern, born and living in Montevideo, Uruguay, put for sale his personal laptop computer, in which he developed his early net art projects. He also used the machine to document early online activity–particularly from around the Americas.
When considering the history of new media, the sale was made at a moment when web 2.0 was about to change: the blog, for instance, which was one of the pivotal tools of the next stage of web development, became quite popular at this time. Simultaneously, the machine’s sale is an overt commentary on the preciousness of the work of art, which was the subject of several attempts of dematerialization during the heyday of conceptualism. The fetishization of the object of art was an issue to consider for many early online art practitioners, since in online practice there appeared to be no “object of art” to deal with directly. The Rotten Machine turns this convention on its head, and shows that “anything” can be commodified.
These are some of my brief observations on a work that deserves more analysis, and that I hope now that it enjoys its first exhibit, will be acknowledged around the world as an important contribution to the history of art.
Hard disk of the rotten machine with the fingerprint of its owner, brian mackern
http://dl.dropbox.com/u/3064699/la_podrida/c.JPG
A text was written in 2004 by Raquel Herrera: http://www.cibersociedad.net/congres2004/grups/fitxacom_publica2.php?idioma=ca&id=95&grup=60
Below is part of the official press release written by curator, Nilo Casares:
——
exhibition:::::::::::::::::::the rotten machine aka the toothless old thing
:::::::::::::::::::::::::::::1999-2004
:::::::::::::::::::::::::::::all net.art in a brian mackern’s laptop
works of:::::::::::::::::::::brian mackern
curator::::::::::::::::::::::nilo casares
technical coordination:::::::àngela montesinos
production:::::::::::::::::::
and organization:::::::::::::meiac
texts of catalogue:::::::::::rodrigo alonso
:::::::::::::::::::::::::::::andrés burbano
:::::::::::::::::::::::::::::nilo casares
:::::::::::::::::::::::::::::gabriel galli
:::::::::::::::::::::::::::::brian mackern
:::::::::::::::::::::::::::::àngela montesinos
edited by::::::::::::::::::::nilo casares
translation::::::::::::::::::polisemia
designer:::::::::::::::::::::fundc [http://www.fundc.com]
publisher::::::::::::::::::::meiac
opening::::::::::::::::::::::[20h00m/05.02.10]
schedule:::::::::::::::::::::[05.02.10)(04.04.10]
:::::::::::::::::::::::::::::from tuesdays until saturdays
:::::::::::::::::::::::::::::10h00m-13h30m/17h00m-21h00m
:::::::::::::::::::::::::::::sundays
:::::::::::::::::::::::::::::10h00m-13h30m
gallery::::::::::::::::::::::3th floor
:::::::::::::::::::::::::::::meiac
:::::::::::::::::::::::::::::virgen de guadalupe, 7.
:::::::::::::::::::::::::::::e46001-badajoz
:::::::::::::::::::::::::::::+34924013060
:::::::::::::::::::::::::::::[meiac@juntaextremadura.net ]
:::::::::::::::::::::::::::::[http://www.meiac.es]
press contact::::::::::::::::àngela montesinos
:::::::::::::::::::::::::::::[angela.montesinos@juntaextremadura.net
:::::::::::::::::::::::::::::exhibition intro::::::::::::::::::::::
the rotten machine is a surprising exhibition that emanates from an old laptop from 1999, owned by the uruguayan netartist brian mackern, to recreate the time when net.art had its peak brightness, and perhaps therefore, the rattle before the emergence of web 2.0 (known as social network).
brian mackern is a founding artist who was ahead of the time in the development of online and offline soundvisual interfaces. founder of online directories artef@ctos virtuales [http://www.internet.com.uy/vibri] and latin netart database [http://netart.org.uy/latino/index.html] (currently owned by meiac).his reference sites are http://netart.org.uy, http://34s56w.org and http://no-content.net.
his computer, the rotten machine, it’s full and complete of all the data collected until the moment it was decided to be sold, on the 8th of may, 2004. it was the working tool (the studio, in classical terms) that accompanied brian mackern between 1999 and 2004, both in his personal work and in collaborative works for other artists and net jamms, apart from his work as a vj, conferences and workshops. in short, his tool.
a computer full of information and history, acquired by the meiac in order to expose it to posterity, when the development of hardware and software will prevent us from viewing many of the art pieces hosted on this computer.
the exhibition is divided into 5 audiovisual stations navigated by brian mackern himself.
1 - anthropological station: content and hardware components of the machine. sounds generated by its operation. references to files, etc.
2 - studio station: personal work (source files and visible works). the source code of his own work and at the same time the navigation of it.
3 - internet and networking station: content related to many of the projects and online/offline collaborative groups in which brian mackern has intervened.
4 - file, documentation and analysis station: random collection of information about net.art and internet culture of that time.
5 - history station. history of net.art: remix of endless net.art sites, in different states of preservation, many of them with retrofitted code to allow navigation within the machine without internet connection.
:::::::::::::::::::::::::::::::pics:::::::::::::::::::::::::::::::::::::::
a: starting point for the auction of the “rotten machine”. peam,
pescara (italy), 2004
http://dl.dropbox.com/u/3064699/la_podrida/a.JPG
b: display of directories contained in the computer
http://dl.dropbox.com/u/3064699/la_podrida/b.JPG
c: hard disk of the rotten machine with the fingerprint of its owner,
brian mackern
http://dl.dropbox.com/u/3064699/la_podrida/c.JPG
d: some of the stickers on the computer
http://dl.dropbox.com/u/3064699/la_podrida/d.JPG
e: keys that are missing, the reason why this computer is also called
*the toothless old thing*
http://dl.dropbox.com/u/3064699/la_podrida/e.JPG
f: way in which *the rotten machine* was exposed for auction in peam,
pescara (italy), 2004
http://dl.dropbox.com/u/3064699/la_podrida/f.JPG
g: accompanying monster for the rotten machine during countless
tours, alongside with the backpack shown in the picture above
http://dl.dropbox.com/u/3064699/la_podrida/g.JPG
h: the rotten machine working, during the exhibition for its auction
at peam, pescara (italy), 2004
http://dl.dropbox.com/u/3064699/la_podrida/h.JPG
Image source: CBS 60 Minutes
Revising my evaluation of mashups led me to this journalistic piece from June 13, 2006 by Scott Conroy from 60 minutes. It is mentioned here mainly for historical purposes, as some things discussed have obviously changed since the feature was produced.
——
Teens don’t have to work very hard to be entertained anymore. Rather than trekking to the record store, they can buy their favorite music with a few clicks — and maybe try out something new while they’re at it. Reality TV, the preferred genre of many, is always on the air. They don’t even have to get up from their chairs to share photographs and gossip with friends.
American society has been assigning all-encompassing labels to generations of young people for a long time. The tendency to pigeonhole a diverse group of individuals is, in some respects, dishonest — not every Flower Child spent the ’60s tiptoeing through tulips, and many members of Generation X surely thought flannel best confined to the realm of the lumberjack.
Read the entire feature at 60 minutes.
Image source: sasosedlacek.com
“Space Junk Spotting, by Saso Sedlacek, Software Mashup of Google Earth and a NASA database of space debris.
As part of my residence at the Swedish Traveling Exhibitions, on November 6 I visited Mejan Labs, an art space dedicated to supporting projects that critically reflect on diverse forms of technology. The art space is located in the heart of the city of Stockholm. Director Peter Hagdahl and Curator Björn Norberg greeted me upon my arrival. We spent sometime discussing the history of media, and how Mejan Labs is part of the ongoing development of new media art practice. In just three years, Mejan Labs has become an exhibition space worth noting outside of Sweden. I learned about it almost as soon as its first exhibition was launched. It was quite a treat to be able to visit it and meet its founders in person.
At the time of my visit, Mejan Labs featured three works that focused on Astronomy, or on the earth in some abstract form. “Earth and Above” on view from November 5, 2009 to January 12, 2010, presents the works of three artists, “A Space Exodus” (2008) by Larissa Sansour, “No Closer to the Source” (July 20, 1969) by Lisa Oppenheim, and “Space Junk Spotting” by Saso Sedlacek.
Image capture, July 11, 2009, http://hulu.com
The following text was originally published during the month of August, 2009 as part of Drain’s Cold issue. The journal is a refereed online journal published bi-annually. The text is republished in full on Remix Theory with permission. Drain’s copyright agreement allows for 25% of the essay to be reblogged or reposted on other sites with proper citation and linkage to the journal at http://www.drainmag.com/. I ask that their agreement be respected by the online community.
In 1964 Marshal McLuhan published his essay “Media Hot and Cold,” in one of his most influential books, Understanding Media.[1] The essay considers the concepts of hot and cold as metaphors to define how people before and during the sixties related to the ongoing development of media, not only in Canada and the United States but also throughout the world.[2] Since the sixties, the terms hot and cold have become constant points of reference in media studies. However, these principles, as defined by McLuhan, have changed since he first introduced them. What follows is a reflection on such changes during the development of media in 2009.
McLuhan is quick to note that media is defined according to context. His essay begins with a citation of “The Rise of the Waltz” by Curt Sachsk, which he uses to explain the social construction behind hot and cold media. He argues that the Waltz during the eighteenth century was considered hot, and that this fact might be overlooked by people who lived in the century of Jazz (McLuhan’s own time period). Even though McLuhan does not follow up on this observation, his implicit statement is that how hot and cold are perceived in the twentieth century is different from the eighteenth. Because of this implication, his essay is best read historically. This interpretation makes the reader aware of how considering a particular medium as hot or cold is a social act, informed by the politics of culture. McLuhan’s first example demonstrates that, while media may become hot or cold, or be hot at one time and cold at another, according to context, the terms, themselves, are not questioned, but rather taken as monolithic points of reference. To make sense of this point, McLuhan’s concepts must be defined.
Image and text source: ReadWriteWeb
Netscape founder Marc Andreessen is backing a new browser dedicated to browsing Facebook, called RockMelt, according to rumors we’ve heard from reputable sources. A semi-independent desktop client for Facebook? Doesn’t seem far fetched at all.
The software isn’t publicly available or being discussed yet, but we’ve gotten our hands on an early build and had a look at the front door after download. Robert John Churchill, who was the principal engineer for Netscape Navigator, is the principle engineer for RockMelt as well.
Read the entire article: ReadWriteWeb
YouTube: The Doppler Effect
Text source: Mashable
We knew you could make great music on the iPhone. With instrument apps such as Smule’s Ocarina and Leaf Trombone. Still, while they’re cool and surprisingly rich mobile instruments, they’re not all that practical for creating, sampling, and recording musical compositions on the fly.
DopplerPad [iTunes Link] is a turntable-like instrument iPhone app built by one of the two creators of FourTrack [iTunes Link]. Unlike some other apps, this one doesn’t feature just one instrument – it has 37. It doesn’t just play notes; it lets you sample them, no matter where you are. And most of all, you can record and combine the beats to create your own electronic remix.
Wikipedia, Flickr, and Twitter aren’t just revolutions in online social media. They’re the vanguard of a cultural movement. Illustration: Christoph Niemann
Image source: Wired
Bill Gates once derided open source advocates with the worst epithet a capitalist can muster. These folks, he said, were a “new modern-day sort of communists,” a malevolent force bent on destroying the monopolistic incentive that helps support the American dream. Gates was wrong: Open source zealots are more likely to be libertarians than commie pinkos. Yet there is some truth to his allegation. The frantic global rush to connect everyone to everyone, all the time, is quietly giving rise to a revised version of socialism.
Communal aspects of digital culture run deep and wide. Wikipedia is just one remarkable example of an emerging collectivism—and not just Wikipedia but wikiness at large. Ward Cunningham, who invented the first collaborative Web page in 1994, tracks nearly 150 wiki engines today, each powering myriad sites. Wetpaint, launched just three years ago, hosts more than 1 million communal efforts. Widespread adoption of the share-friendly Creative Commons alternative copyright license and the rise of ubiquitous file-sharing are two more steps in this shift. Mushrooming collaborative sites like Digg, StumbleUpon, the Hype Machine, and Twine have added weight to this great upheaval. Nearly every day another startup proudly heralds a new way to harness community action. These developments suggest a steady move toward a sort of socialism uniquely tuned for a networked world.
Read the entire article at Wired
Image source: The New Mexico Independent
Written for Interactiva Biennale 2009
The following text was written for Interactiva 09 Biennale, which takes place the month of May and June of 2009. Other texts written for the biennale can be found at the Interactiva site.
In March of 2005 I wrote “The Blogger as Producer.”[1] The essay proposed blogging as a potentially critical platform for the online writer. It was written specifically with a focus on the well-known text, “The Author as Producer,” by Walter Benjamin, who viewed the critical writer active during the 1920’s and 30’s with a promising constructive position in culture. [2]
In 2005 blogging was increasing in popularity, and in my view, some of the elements entertained by Benjamin appeared to resonate in online culture. During the first half of the twentieth century, Benjamin considered the newspaper an important cultural development that affected literature and writing because newspaper readers attained certain agency as consumers of an increasingly popular medium. During this time period, the evaluation of letters to editors was important for newspapers to develop a consistent audience. In 2005, it was the blogosphere that had the media’s attention. In this time period, people who wrote their opinions on blogs could be evaluated with unprecedented efficiency. [3]
(more…)
Image source: Wolframalpha
Text source: The Independent
Originally published Sunday, 3 May 200
The new system, Wolfram Alpha, showcased at Harvard University in the US last week, takes the first step towards what many consider to be the internet’s Holy Grail – a global store of information that understands and responds to ordinary language in the same way a person does.
Although the system is still new, it has already produced massive interest and excitement among technology pundits and internet watchers.
Computer experts believe the new search engine will be an evolutionary leap in the development of the internet. Nova Spivack, an internet and computer expert, said that Wolfram Alpha could prove just as important as Google. “It is really impressive and significant,” he wrote. “In fact it may be as important for the web (and the world) as Google, but for a different purpose.