communication
MOTHER
16/10/11 22:50
My Mother just accused me of being accumulation posing as independent free will.
Blogged by CAPTAIN CAPTAIN
Blogged by CAPTAIN CAPTAIN
WHITE GLOVES
17/09/11 16:32
MICKEY MOUSE had them
MARIO wears them
MICHAEL JACKSON had one of them
KID ROBOT does it
KAWS loves them
ADFUNCTURE bombs the city with them
Speaker stacks were covered in white gloved ravers throughout the early 90s.
Long has there been a history of white gloves and long may it continue..
So just whats in it ?
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MARIO wears them
MICHAEL JACKSON had one of them
KID ROBOT does it
KAWS loves them
ADFUNCTURE bombs the city with them
Speaker stacks were covered in white gloved ravers throughout the early 90s.
Long has there been a history of white gloves and long may it continue..
So just whats in it ?
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DENKI
16/09/11 16:20
Denki are creating some incredibly ambitious moves in the iPad game scene.
Alongside longtime NEWFUTURENOW collaborators DOMINO RECORDS. Denki are now moving into music videos, well music games to put it more succinct. Mini applications that users play along with, making the whole experience of listening to music more immersive and personalised. It is a great concept and seemingly simple interactions are proving wonderful results.
An artist / indie game is being developed between NEWFUTURENOW and DENKI this very moment, and a possible 3D screen and DCA live performance has also been suggested, hosted and commissioned by NeoN Digital Art Festival Director Donna Halford Lovell. Thank you Donna!
For his part in the process JAYGO BLOOM is impatiently seeking professional HAND DANCERS . .
Smiley Daze is back indeed.
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Alongside longtime NEWFUTURENOW collaborators DOMINO RECORDS. Denki are now moving into music videos, well music games to put it more succinct. Mini applications that users play along with, making the whole experience of listening to music more immersive and personalised. It is a great concept and seemingly simple interactions are proving wonderful results.
An artist / indie game is being developed between NEWFUTURENOW and DENKI this very moment, and a possible 3D screen and DCA live performance has also been suggested, hosted and commissioned by NeoN Digital Art Festival Director Donna Halford Lovell. Thank you Donna!
For his part in the process JAYGO BLOOM is impatiently seeking professional HAND DANCERS . .
Smiley Daze is back indeed.
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AMBIGUITY
14/09/11 10:52
The voices which whisper to us from crystals, herbs, housewives.
The invisible fields from all dimensions which impinge on us.
The imagined histories and futures which introspect the present moment
If all of these models or even a small portion of them are given credence the density of human experience is considerably deepened.
Blogged by CAPTAIN CAPTAIN.
FLEET COLLECTIVE
10/09/11 16:11
Dundee is one of my favorite cities in the UK. Not suprisingly it also has some very well kept secrets.
In the lofty attic of the old city chambers building is housed the new Headquarters of one of the cities most active digital media organisations. FLEET COLLECTIVE keep in it Lo-key. Behind the majestic brickwork there is little in the way of digital signage to direct a visitor to their lofty studios, but the works and production that results, bears witness to nothing short of a Dundonian miracle.
‘Proud to be private’ this team of experienced creatives are shifting the boundaries and concepts of arts in the North / North East of Scotland and bravely waving their talent on an international level.
Donna Holford Lovell their Director is just about as well-versed in the arts and cultural engineering of projects all things media that you can get. Along with business partner Lyle from sooperdooperdoubleD she is also the revered director of NEON a digital art festival which spreads the width and breadth of Dundee every year.
Showcasing new works, performances, and packed with masterclasses and artists talks. This is where NEWFUTURENOW fits in, Jaygo Bloom has been invited to collaborate with one of the cities leading digital toy companies DENKI and come up with something wonderful for NEON 2011.
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In the lofty attic of the old city chambers building is housed the new Headquarters of one of the cities most active digital media organisations. FLEET COLLECTIVE keep in it Lo-key. Behind the majestic brickwork there is little in the way of digital signage to direct a visitor to their lofty studios, but the works and production that results, bears witness to nothing short of a Dundonian miracle.
‘Proud to be private’ this team of experienced creatives are shifting the boundaries and concepts of arts in the North / North East of Scotland and bravely waving their talent on an international level.
Donna Holford Lovell their Director is just about as well-versed in the arts and cultural engineering of projects all things media that you can get. Along with business partner Lyle from sooperdooperdoubleD she is also the revered director of NEON a digital art festival which spreads the width and breadth of Dundee every year.
Showcasing new works, performances, and packed with masterclasses and artists talks. This is where NEWFUTURENOW fits in, Jaygo Bloom has been invited to collaborate with one of the cities leading digital toy companies DENKI and come up with something wonderful for NEON 2011.
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NORWICH COLLEGE OF ARTS
06/09/11 16:21
A visit to the East Coast cultural hub that is Norwich, and a striking encounter
with the very fine team of academics that spearhead the Art and Design departments over at Norwich University.
A good meeting with little time to show a portfolio and lots of time to talk over professional practice
and the possibility of some JAYGO BLOOM involvement for the department of Communication Media this following year.
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with the very fine team of academics that spearhead the Art and Design departments over at Norwich University.
A good meeting with little time to show a portfolio and lots of time to talk over professional practice
and the possibility of some JAYGO BLOOM involvement for the department of Communication Media this following year.
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UP POMPEI!
30/08/11 23:07
Images taken whilst scouting around Napoli, prizes for guessing what in the world these are used for. . ?
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LUXNATURA
09/08/11 18:41
NNX Development 002 -
luxnatura is the salvational radiance that can be found in the organic kingdom
It has slipped from the grid of modern being, except in exceptional cases where it is cultivated as a sensibility or pursed in the guise of an aspect of psychedelic experience.
As artists our point of view is actually gaining ground, 95 percent of this is most likely just intellectual noise and ethics that attempt to coin the perfect analogy, nevertheless there is the remaining 5 percent that is at the cutting edge of the driving image of this meta-culture. What this remaining 5 percent share is the importance they place on the role of nature. For some this results in the recognition of the presence of control mechanisms, using art as a way of coming to terms with the nature that we have resisted.
Before technology people had to store firewood in the autumn and in the spring they had to sharpen tools for the planting, there was an implicit rhythm laid down by nature that entered the human cosmos on every level and this was reflected in the art, in the poetry, in the culture building, in the language evolution etc and when the factors of urbanization removed the influence of these rhythms ending in the final culmination of the modern city where life under the electric light goes on 24hrs a day, there is then a flattening of the human dimension there is no more of being embedded in flux there is instead the myth of the eternal culture.
to be continued. .
Blogged by CAPTAIN CAPTAIN
luxnatura is the salvational radiance that can be found in the organic kingdom
It has slipped from the grid of modern being, except in exceptional cases where it is cultivated as a sensibility or pursed in the guise of an aspect of psychedelic experience.
As artists our point of view is actually gaining ground, 95 percent of this is most likely just intellectual noise and ethics that attempt to coin the perfect analogy, nevertheless there is the remaining 5 percent that is at the cutting edge of the driving image of this meta-culture. What this remaining 5 percent share is the importance they place on the role of nature. For some this results in the recognition of the presence of control mechanisms, using art as a way of coming to terms with the nature that we have resisted.
Before technology people had to store firewood in the autumn and in the spring they had to sharpen tools for the planting, there was an implicit rhythm laid down by nature that entered the human cosmos on every level and this was reflected in the art, in the poetry, in the culture building, in the language evolution etc and when the factors of urbanization removed the influence of these rhythms ending in the final culmination of the modern city where life under the electric light goes on 24hrs a day, there is then a flattening of the human dimension there is no more of being embedded in flux there is instead the myth of the eternal culture.
to be continued. .
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RAPTURE IN Xe6s
01/07/11 09:24
NNX Development 001 -
A series of lens based works which take the form of staged, social interactions to camera, investigating computer human interaction and the ‘intactable’ supernatural nature of minerals and metals present within computer technology.
I have chosen for this project the title of Rapture in Xe6s (Xe6s being part of the electronic structure code for Lanthanide)
Lanthanide is a rare earth mineral, collectively known as a transition metal and part of the gold series, part of its characteristics is that it physically facilitates electrical connections. Blue Green in color it is used in cathodes, capacitors, electronics, lenses, computer screens and chemical processing equipment.
For Homeopathic practitioners Lanthanide draws parallels with the rise of the electronic man. According to the philosopher Marshall Mcluhan in his essay Understanding Media (1964)
'.. An electronic nervous system is rapidly integrating the planet . .(and) we have extended ourselves into its global embrace'.
Homeopaths postulate that anonymous, global communications informed by the internet have now started to affect the bodies life maintaining boundary. Lanthanides are thus being administered to treat such conditions.
‘Know that the first Tincture and Root of all Metals, is likewise a supernatural, flying, fiery Spirit’ Basilius Valentinus. 1671
Rapture in Xe6s will seek to connect to the rare earth minerals inherit within the collapse of massed, barely functional salvaged equipment and software systems, creating realtime graphical processes which cross the division of code and matter, through resonance, ‘entrainment’ and the reading of the energetic signature of vibrations which emanate therein.
To be continued . .
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TIME DOES NOT EXIST
27/06/11 01:01
Time does not exist: our lives are too short to 'measure' it, time has astronomical minutes and geological seconds. Time is non-human. What we experience as time is background noise 300 decimals behind the comma. Our time is part of the margin of error, a fluctuation too small to spawn butterfly effects even in geological time.
“I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. Let visitors trip. And the highest enjoyment of timelessness – in a landscape selected at random – is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It is like a momentary vacuum into which rushes all that I love. A sense of oneness with sun and stone. A thrill of gratitude to whom it may concern – to the contrapuntal genius of human fate or to tender ghosts humoring a lucky mortal.” Vladimir Nabokov
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“I confess I do not believe in time. I like to fold my magic carpet, after use, in such a way as to superimpose one part of the pattern upon another. Let visitors trip. And the highest enjoyment of timelessness – in a landscape selected at random – is when I stand among rare butterflies and their food plants. This is ecstasy, and behind the ecstasy is something else, which is hard to explain. It is like a momentary vacuum into which rushes all that I love. A sense of oneness with sun and stone. A thrill of gratitude to whom it may concern – to the contrapuntal genius of human fate or to tender ghosts humoring a lucky mortal.” Vladimir Nabokov
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PSYCHOGEOPHYSICS
23/06/11 16:56
What is Psychogeophysics?
Psychogeography can be defined as a playful examination of the total effects of geography and place on the individual,
“the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” Guy Debord.
Psychogeophysics extends this research to embrace geophysics defined as the quantitative observation of the earth's physical properties, and its interaction with local spectral ecologies and with measurement of such properties allowing for the mapping of previous traces through techniques of particle/wave detection and data forensics.
This extension of psychogeography into geophysics implies a collision between interpretation (fiction) and measurement, a novel discipline that bridges any such distinction through the medium of code, and offers a speculative take on the future of code as an uncovering of its locative (diagnostic) potentials leading to a new phase of software studies.
Question: you enter a room, what happens to you?
Answer: psychogeography.
Question: what is happening to you from outside the room?
Answer: Psychogeophy.
Question: What?
Answer: Psychogeophysics; just as the entire weight of the earth conspire to pull down suspended objects (gravity; a relatively weak but keystone force) the human condition is being shaped by the entire earth: psychology as plate tectonics of the mind.
Psychogeographers have deluded themselves in their petty BACK YARD regionalism and general lack of ambition to look beyond the city and beyond the contemporary. Cities come and go. The psychogeophysical angle, which has everything going for it, is already deluded by procedural navel gazing and an irrational belief in the supreme objectivity of measurement and raw data.
XXN is a collective founded by Martin Howse and Jonathan Kemp
XXN will be hosting the next PSYCHOGEOPHYSICS summit in Suffolk this coming september
Blogged by CAPTAIN CAPTAIN
Psychogeography can be defined as a playful examination of the total effects of geography and place on the individual,
“the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” Guy Debord.
Psychogeophysics extends this research to embrace geophysics defined as the quantitative observation of the earth's physical properties, and its interaction with local spectral ecologies and with measurement of such properties allowing for the mapping of previous traces through techniques of particle/wave detection and data forensics.
This extension of psychogeography into geophysics implies a collision between interpretation (fiction) and measurement, a novel discipline that bridges any such distinction through the medium of code, and offers a speculative take on the future of code as an uncovering of its locative (diagnostic) potentials leading to a new phase of software studies.
Question: you enter a room, what happens to you?
Answer: psychogeography.
Question: what is happening to you from outside the room?
Answer: Psychogeophy.
Question: What?
Answer: Psychogeophysics; just as the entire weight of the earth conspire to pull down suspended objects (gravity; a relatively weak but keystone force) the human condition is being shaped by the entire earth: psychology as plate tectonics of the mind.
Psychogeographers have deluded themselves in their petty BACK YARD regionalism and general lack of ambition to look beyond the city and beyond the contemporary. Cities come and go. The psychogeophysical angle, which has everything going for it, is already deluded by procedural navel gazing and an irrational belief in the supreme objectivity of measurement and raw data.
XXN is a collective founded by Martin Howse and Jonathan Kemp
XXN will be hosting the next PSYCHOGEOPHYSICS summit in Suffolk this coming september
Blogged by CAPTAIN CAPTAIN
NEON
14/03/11 21:33
A visit to Duncan of Jordanstone College of Art and the chance to catch up with the VISUAL EFFECTS RESEARCH LAB.
A meeting with NEON Festival producer Donna Lovell about possible involvements with the festival at the end of this year, and a few tutorials with students from the undergraduate and postgraduate Media Arts department.
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A meeting with NEON Festival producer Donna Lovell about possible involvements with the festival at the end of this year, and a few tutorials with students from the undergraduate and postgraduate Media Arts department.
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IDAT PLYMOUTH
09/03/11 13:31
A meeting with Plymouth University and a possible through road to developing new work and academic practice alongside the Interacation department.
Plymouth is host to one of the countries few remaining planetariums a 40 foot domed building that in recent years has been taken over by IDAT and transformed into a 360 cinematic space for the development and presentation of academics and researchers, MIKE PHILLIPS heads the team.
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Plymouth is host to one of the countries few remaining planetariums a 40 foot domed building that in recent years has been taken over by IDAT and transformed into a 360 cinematic space for the development and presentation of academics and researchers, MIKE PHILLIPS heads the team.
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BINARIES WITHOUT BINARIES
01/03/11 21:28
What happens when we move into a world not described by formality and hard facts but one that encompases an organism akin to that of a bubble ?
The works of theorist Schloterdijk on the NFN reading list.
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ANTHONY MCCALL
28/02/11 13:27
Volumetric lightforms in mist, the unwinding of a line as described by the pioneer of video mapping ANTHONY MCCALL himself - On exhibition at PRAKTIKA and in talks at the TATE
Blogged by CAPTAIN CAPTAIN
Blogged by CAPTAIN CAPTAIN
SCOTTISH NATIONAL GALLERIES FELLOWSHIP
15/02/11 15:18
Shortlisted for the SCOTTISH NATIONAL GALLERIES Fellowship award with a project that focuses on one of their greatest treasures from the Royal Collection - The Trinity Altarpiece.
This is a panel painting attributed to the Artist Hugo van der Goes, painted during the late 1470s for the Collegiate Church of the Holy Trinity in Edinburgh. It is a work of art that did not survive the Reformation unscathed. The painting presents the four remaining panels of a five panel triptych, with the missing presumably that of a ʻVirgin and Child with Angelsʼ and stands literally yards away from its original location today. The Collegiate Church was demolished in 1848 despite a formal protest from the Society of Antiquaries of Scotland to make way for the North British Railway Companyʼs development, marking the exact location to be somewhere on the grounds of Edinburgh's main train station - Waverly.
For the Fellowship I am interested in creating work which opens up a much wider horizon in the manner of how it invokes and engages with historicity. A period of research will follow an open ended process of revisiting and inhabiting spaces around Edinburgh, a process that will assist in connecting a different temporality to the original artwork. The fellowship will also prepare me for a long term engagement that involves research and a certain politics of re-staging, which will involve negotiation from the wider cultural field.
As much as I am interested in the actual presentation and physical translation of the Trinity Altarpiece through a digital medium, I am also interested in what is lacking or what is not there, the presence of the painting suggesting what is missing at the same time. In his publication ʻWay of the Masksʼ Claude Levi Strauss discusses how all the elements of a mask point to the absence of what they produce. He states it is not just important what the masks produce, but what they negate through the elements that are missing within the mask. To translate what is missing from the original work of art into physical space for a temporal moment, and to depict this through the moving image, I will also be examining the medium in which I choose to bring
these ghosts back, not just dealing with spaces and images as artifacts but also with events in history. I expect for the new work to offer an insight into understanding the perceptive shift in our current position when reading an original work of art within the gallery alongside the new translation of the work within its original location. The work will allude to a very specific moment, how will we choose to inhabit it?
Blogged by CAPTAIN CAPTAIN
This is a panel painting attributed to the Artist Hugo van der Goes, painted during the late 1470s for the Collegiate Church of the Holy Trinity in Edinburgh. It is a work of art that did not survive the Reformation unscathed. The painting presents the four remaining panels of a five panel triptych, with the missing presumably that of a ʻVirgin and Child with Angelsʼ and stands literally yards away from its original location today. The Collegiate Church was demolished in 1848 despite a formal protest from the Society of Antiquaries of Scotland to make way for the North British Railway Companyʼs development, marking the exact location to be somewhere on the grounds of Edinburgh's main train station - Waverly.
For the Fellowship I am interested in creating work which opens up a much wider horizon in the manner of how it invokes and engages with historicity. A period of research will follow an open ended process of revisiting and inhabiting spaces around Edinburgh, a process that will assist in connecting a different temporality to the original artwork. The fellowship will also prepare me for a long term engagement that involves research and a certain politics of re-staging, which will involve negotiation from the wider cultural field.
As much as I am interested in the actual presentation and physical translation of the Trinity Altarpiece through a digital medium, I am also interested in what is lacking or what is not there, the presence of the painting suggesting what is missing at the same time. In his publication ʻWay of the Masksʼ Claude Levi Strauss discusses how all the elements of a mask point to the absence of what they produce. He states it is not just important what the masks produce, but what they negate through the elements that are missing within the mask. To translate what is missing from the original work of art into physical space for a temporal moment, and to depict this through the moving image, I will also be examining the medium in which I choose to bring
these ghosts back, not just dealing with spaces and images as artifacts but also with events in history. I expect for the new work to offer an insight into understanding the perceptive shift in our current position when reading an original work of art within the gallery alongside the new translation of the work within its original location. The work will allude to a very specific moment, how will we choose to inhabit it?
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TEMPORARY SUSPENSION
29/01/11 20:45
Today art education has no definite goal, no method, no particular content
that can be taught, no tradition that can be transmitted to a new generation—
which is to say, it has too many. Just as art after Duchamp can be anything, so
can art education be anything. Art education is an education that functions
more as an idea of education, as education per se, because art education is fi-
nally unspecific. But there is one characteristic of traditional education that has
remained unchanged throughout the history of art and, generally, throughout
the cultural revolutions of modernity. Now, as ever before, education suspends
the student in an environment that is meant to isolate him or her, to be exclu-
sively a site of learning and analysis, of experimentation exempted from the ur-
gencies of the outside world. Paradoxically, the goal of this isolation is precisely
to prepare students for life outside the school, for “real life.” Yet this paradox
nonetheless is perhaps the most practical thing about contemporary art edu-
cation. It is an education without rules. But so-called real life, where we are
subject to an endless variety of improvisations, suggestions, confusions, and
catastrophes, is also finally without any rules. Ultimately, teaching art means
teaching life.
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SUBLIME AND THE AVANT-GARDE
30/11/10 15:51
In his influential text “The Sublime and the Avant-Garde,” Jean-François Lyotard writes that modernist art reflects an extreme state of insecurity, which is a consequence of artists rejecting the help that art schools can offer all the programs, methods, and techniques that could allow the artist to work professionally and remaining alone. For Lyotard life is within the artist, and it is this inner life that begins to manifest itself after all the external conventions of art are removed. But the conviction that the artist rejects school to become sincere, to be able to manifest his or her inner self, is one of the oldest myths of modernism: the myth in which avant-garde art is an authentic creation in opposition to the mere reproduction of the past, of the given.
Art is proclaimed to be an expression of the artist’s true identity, or at least as a deconstruction of this identity.
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ARCADE INTRO
27/11/10 16:27
Introduction text written towards a new publication covering my recent show ‘Arcade’
The qualities that often constitute the aura of artworks which are built out of computers have a tendency to often sharply differentiate audiences. The sensual pleasure of being bathed in dynamic light may not always be accessible to all when such work is located in a contemporary art space. The seductive abandonment of oneself to works in which the conception and technical delivery are cloaked in a mystic technological virtuosity may raise joy in some, but mistrust in others. The belief that needs to be invoked to enable the critical appraisal of any artwork normally requires an understanding and insight which seems to be rare in those appraising works which are built around a palette of arcane software and glittery hardware.
Jaygo Bloom knows and understands this and presents works which offer the joy of sensory abandonment while also offering a very courteous nod to the dominant mores of cultural historiography. Like the work of his US counterpart, Cory Archangel, Bloom relishes the resonances of a youth spent clinging to the joystick, but is smart enough to know that once a work enters the gallery it will need to dot the I’s and cross its T’s before acceptance into the canon of contemporary practice.
But post rationalisation is maybe not such a bad thing. Even when it does little more than build a pathway to the work, marking out a journey which adds indulgences to some particular pilgrims. For work which is generated entirely out of pre-conceived notions of ones place in the lineage of art history will be stale and didactic, while the work of Bloom is anything but. The work in the exhibition ‘Arcade’ is bright and dynamic and uses that purest of media, light, to conjure up apparitions of sculpture come alive, of shapes whose sustained existence as solid objects is teased by the changing patterns of digital colour that race across surfaces, rendering in real-time and real space what may have only been seen before on a computer screen. The work cites Calder, Malevich and Albers, but ultimately is the product of much, much, more and often, thankfully, much less.
- Clive Gillman. Director Dundee Contemporary Arts Centre
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TIMES 2 TO MAKE MY LIFE EASIER
27/11/10 16:23
I am late in presenting these two new fantastic development in the areas of live visual effects processing but anyway here goes . . Syphon And Kinect
SYPHON
Today each visual app or VJ app is a closed system. You create your graphics and it is then sent to your output.
The output of the app is locked. It cannot be altered after it leaves the app.
Imagine if you had two apps each producing a live stream of realtime graphics on the one computer.
Up until now there has been no good way to combine the outputs of those two apps into one image stream in real time. If you wanted to create a background in Resolume and a generative particle effect in Processing, you would have to save one of them as a file and then import this saved movie into the other app, or you would have to use a screen grabber to catch the image from one app and put it into the other in real time. All this uses a lot of process power on your computer and tends to slow down the performance of the apps, due to the need of two apps open at one.
Syphon runs in the background, it allows you to work in two video software environments simultaneously, yet without the need to have both platforms open at the same time. It works as a bridge between any video processing environment and allows applications to ‘talk to each other’ and exchange graphics in real time without any delay or loss of image quality.
KINECT
Kinect hacking, worldwide, continues unabated, taking the gamers tool from proof-of-concept depth tests to something that could actually prove the basis of real media. The killer app, it seems, will be interactive art, as Kinect’s ability to interact with someone in space is ideal for the kinds of interactions designers need – perhaps, ironically, more so than in games.
Most promising of all, Robert Praxmarer writes to share his team’s work on skeletal tracking, top. This is really the magic of Kinect: beyond just tracking depth, once you have a notion of a human skeleton, you can really begin to interact with movement, opening up seriously powerful possibilities for spatial interaction and dance. Robert comes from a “newly-formed research new media lab in Austria called CADET – Center for Advances in Digital Entertainment Technologies.”
Game design with something like Kinect is no small challenge, which is why the launch lineup on the Xbox itself – with the possible exception of Harmonix’s dance game, Dance Central – has been deemed disappointing by many early adopters and critics. To really explore the medium’s possibilities, it may be absolutely essential to get independent designers working on the problem, freed from the pressures of the commercial game development pipeline. Accordingly, the Austrian team isn’t just doing interesting analyses. They’re putting that work to the test with an open-source Kinect game that uses generative realtime graphics and a rich musical soundtrack.
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EDUCATION BY INFECTION
27/11/10 15:43
Life understood as a permanent source of infection that endangers the health of students’ nervous systems was articulated early in the twentieth century by Kazimir Malevich in “An Introduction to the Theory of the Additional Element in Painting,” which concerned itself with the problems of art education. Malevich describes a range of art styles—“Cézannism,” Cubism, and Suprematism, among them—as effects of different aesthetic infections metabolized in the artist by bacilli of one aesthetic kind or another. That is to say, they were triggered by new visual forms and impressions produced by modern life. So Malevich compares the straight lines of Suprematism (which he introduced into painting, according to his own view) to the bacillus of tuberculosis, whose organic form is also rectilinear. Just as a bacillus modifies the body, so too are the sensibility and nervous system of the artist modified by novel visual elements introduced into the world by new technical and social developments. The artist “catches” them with the same sense of risk and danger.
Artists need to modify the immune system of their art in order to incorporate new aesthetic bacilli, to survive them and find a new inner balance, a new definition of health.
From Flaubert, Baudelaire, and Dostoyevsky, by way of Kierkegaard and Nietzsche, to Bataille, Foucault, and Deleuze, modern artistic thought has acknowledged as a manifestation of the human much of what was previously considered evil, cruel, and inhuman. Just as in the case of art, these authors and many others have not only accepted as human what reveals itself as human but also what reveals itself as inhuman. The point for them was not to incorporate, integrate or assimilate the alien into their own world but, conversely, to enter into the alien and become alien to their own tradition. They manifest an inner solidarity with the Other, with the alien, even with the threatening and cruel, and this takes us much further than a simple concept of tolerance. Over the course of modern art, all of the criteria that could clearly distinguish the work of art from other things were called into question. Sometimes a thing was conceived from the outset as a work of art; sometimes it was considered art only by its introduction into the gallery or museum. It is the case of contemporary art and its teaching that the concept of art per se cannot be reduced and cannot be taught within former limitations, as it has been so pervasively influenced by the will to Otherness.
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Artists need to modify the immune system of their art in order to incorporate new aesthetic bacilli, to survive them and find a new inner balance, a new definition of health.
From Flaubert, Baudelaire, and Dostoyevsky, by way of Kierkegaard and Nietzsche, to Bataille, Foucault, and Deleuze, modern artistic thought has acknowledged as a manifestation of the human much of what was previously considered evil, cruel, and inhuman. Just as in the case of art, these authors and many others have not only accepted as human what reveals itself as human but also what reveals itself as inhuman. The point for them was not to incorporate, integrate or assimilate the alien into their own world but, conversely, to enter into the alien and become alien to their own tradition. They manifest an inner solidarity with the Other, with the alien, even with the threatening and cruel, and this takes us much further than a simple concept of tolerance. Over the course of modern art, all of the criteria that could clearly distinguish the work of art from other things were called into question. Sometimes a thing was conceived from the outset as a work of art; sometimes it was considered art only by its introduction into the gallery or museum. It is the case of contemporary art and its teaching that the concept of art per se cannot be reduced and cannot be taught within former limitations, as it has been so pervasively influenced by the will to Otherness.
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CRUMB
20/11/10 15:41
Professor Beryl Graham and Dr. Sarah Cook run CRUMB, the resource for curators and exhibitors of new media art.
‘Here to help those who exhibit new media art’ The Curatorial Resource for Upstart Media Bliss.
Keep your eyes on their homepage for artists opportunities . .
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‘Here to help those who exhibit new media art’ The Curatorial Resource for Upstart Media Bliss.
Keep your eyes on their homepage for artists opportunities . .
Blogged by CAPTAIN CAPTAIN
BESIDE THE SCREEN
18/11/10 16:04
BESIDE THE SCREEN is hosted by Goldsmiths and the Thursday club ( Check out their CALENDAR for gigs ) and this week features artists involved with realtime visual practice and Vjaying as research for Phd. Speakers include Ana Carvalho, Dominik Hasler Patricia Moran and Toby Harris. A PDF that accompanies the event is available to download HERE
Blogged by CAPTAIN CAPTAIN
NOTTINGHAM TRENT UNIVERSITY
08/11/10 16:00
Shortlisted for interview for a Lecturer Post within the Interaction Design Department at Nottingham Trent. A good chance to bring my research and practice up to date ready for interview and a chance to visit the latest British Art Show 6.
Blogged by CAPTAIN CAPTAIN
Blogged by CAPTAIN CAPTAIN
SKATEBOARDING AND THE CITY
07/11/10 14:52
I am currently reading Iain Borden's book “Skateboarding, Space and the City: Architecture and the Body”, The author uses the example of skateboarding as a method of describing and rethinking the penetration of architectural design on urban landscapes. Citing theorist, Michel Foucault, Borden explains in the following quote how architecture gains meaning from the social situations that it is constituted from.
This expresses the idea that the experience of living and interacting with the city or any specified location, as artists often put into practice in their work, is considered a valid form of both theoretical and practical evaluation within the realm of research.
Toby Paterson - Potential Forms 2005
Blogged by CAPTAIN CAPTAIN
This expresses the idea that the experience of living and interacting with the city or any specified location, as artists often put into practice in their work, is considered a valid form of both theoretical and practical evaluation within the realm of research.
Toby Paterson - Potential Forms 2005
Blogged by CAPTAIN CAPTAIN
ARTISTS TALK
27/10/10 14:09
A keynote presentation delivered to the School of Fine Art and Design at Duncan of Jordanstone.
Circumnavigating my practice by means of others work. Most notably the video works of John Smith, Petra Cortright, Oliver Laric and Graeme Dolphin, the works of Martin Creed, Corey Arcangel, the Suprematists, the American Abstract Artists and the disruptive networks of Jonah Brukner Cohen.
Om
1986 John Smith
Work 1020
2010 Martin Creed
Blogged by CAPTAIN CAPTAIN
Circumnavigating my practice by means of others work. Most notably the video works of John Smith, Petra Cortright, Oliver Laric and Graeme Dolphin, the works of Martin Creed, Corey Arcangel, the Suprematists, the American Abstract Artists and the disruptive networks of Jonah Brukner Cohen.
Om
1986 John Smith
Drum Circle
2009 Graeme Dolphin.
Work 1020
2010 Martin Creed
Blogged by CAPTAIN CAPTAIN
DEATHDISCO SPARK MIX
09/09/08 22:13
DEATHDISCO SPARK MIX from NEWFUTURENOW on Vimeo.
!!!NEWSFLASH!!!
Niall and Anna at the Scottish Event Awards
DEATHDISCO recently scooped the top award for Best Marketing Strategy at the SCOTTISH EVENT AWARDS last thursday. beating off tough competition from the Glasgow Film Festival, The Andy Warhol Retrospective and Glasgow 2014 Commonwealth Games Bid!
Check out the posters / Check out the visuals / Each month we bring the crowd into the studios and make them perform, creating promo content and visuals individual for each club night.. We RECORD.. You PERFORM.. wanna try??
For all enquires contact DEATHDISCO
And come check out the commotion every third saturday of each month....
DEATHDISCO! Cut-up ultrapop, quality electromash and bastardised bootlegs for non-conformist up-for-it revellers.
The award winning crew...
Club organiser Tiernan, Photographer and promo designer Niall Walker
NEWFUTURENOW greenscreen directions and video compositing by JAYGO
Loreal Make up Artist Anna MacKenzie and club VJ and inter-roving cuboid screen designer DAVA BERNARD.
More DEATHDISCO video mixes In glorious VIMEO-VISION!! uploaded soooon.....
Blogged by CAPTAIN CAPTAIN
PIXELAZO 2007
01/04/07 11:09
An afterword to all the fantastic people I met in Colombia, during the Pixelazo events, especially the people of Comuna13, Medellin.
Social and political regimes rained down on this region for many years and considerable atrocities and lives were lost during the heat. Now a place with extreme millitary presence, but at the heart a vibrant community, together they face a new future, a community full of promise, and with open arms towards our international crew 'POINTLESS CREATIONS'. In fact all pre-conceptions I had of Colombia were instantly crushed, True, its past has had quite a reputation the hostility, drug-rings, government corruption, guns, guerillas, death and danger but today in Medellin all seems safe, socialble and tranquillo.
Me playing around with Eric Sandelin's mobile ophonine pophorn project
Economical difficulties make it hard for people to consider all those creative practices that we are free to think about in Western culture, as for many they find it difficult just to get by, yet all the people i met were so 'turned on', they had a real thirst for new experience and throughout the workshops we held, they all seemed to be with us 100% of the way, share and exchange, like for like.
DJ DAZX, Johanna and Kanela from radiocapsula - Parque San Javier, Comuna13
DJDAZX has two kids and he tries to be a dad but he also has this other part to him, the digital world, and he has a dream to live off making music and being artistic and being creative, but he has this worry he has this stress that he has to provide for his family, and finds it very hard to balance both.
DJDAZX knows that the time is changing, he is preparing for the right time, and his people also have an awareness for the right time, to be ready for that moment which is definatley coming and happening within Colombian subculture is what the many people we met live for.
DJDAZX gave me a letter just before we left, he had help by his english teacher -
The first two lines say it all -
'So glad I am of you to come to my country, because through this you help young people like me.
Not to hold a gun but to click a mix'.
The products of our interactive screen workshop, re-invented and explored by the local kids during the San Javier Pointless Creations performance.
Social and political regimes rained down on this region for many years and considerable atrocities and lives were lost during the heat. Now a place with extreme millitary presence, but at the heart a vibrant community, together they face a new future, a community full of promise, and with open arms towards our international crew 'POINTLESS CREATIONS'. In fact all pre-conceptions I had of Colombia were instantly crushed, True, its past has had quite a reputation the hostility, drug-rings, government corruption, guns, guerillas, death and danger but today in Medellin all seems safe, socialble and tranquillo.
Me playing around with Eric Sandelin's mobile ophonine pophorn project
Economical difficulties make it hard for people to consider all those creative practices that we are free to think about in Western culture, as for many they find it difficult just to get by, yet all the people i met were so 'turned on', they had a real thirst for new experience and throughout the workshops we held, they all seemed to be with us 100% of the way, share and exchange, like for like.
DJ DAZX, Johanna and Kanela from radiocapsula - Parque San Javier, Comuna13
DJDAZX has two kids and he tries to be a dad but he also has this other part to him, the digital world, and he has a dream to live off making music and being artistic and being creative, but he has this worry he has this stress that he has to provide for his family, and finds it very hard to balance both.
DJDAZX knows that the time is changing, he is preparing for the right time, and his people also have an awareness for the right time, to be ready for that moment which is definatley coming and happening within Colombian subculture is what the many people we met live for.
DJDAZX gave me a letter just before we left, he had help by his english teacher -
The first two lines say it all -
'So glad I am of you to come to my country, because through this you help young people like me.
Not to hold a gun but to click a mix'.
The products of our interactive screen workshop, re-invented and explored by the local kids during the San Javier Pointless Creations performance.
POKER CLUB
08/11/06 00:14
New Media Scotland are doing one of their notorious Poker Club events on Thursday November 23rd from 6pm until 9pm, in the Grassmarket. Edinburgh. It is a series of talks in pubs, involving an international guest being in conversation with a local person of some repute... and for this next session I will be the local person!
The guest will be Mia Makela, aka SOLU she is finnish, a media and live cinema artist, teacher, investigator and cultural activist residing in Barcelona.
About the Poker Club:
In a nod to the Scottish Enlightenment, when Adam Smith and David Hume gathered to discuss big ideas over a glass of claret at the original Poker Club, New Media Scotland is launching its own series of events under this venerable name (which refers to a fireplace poker for "stirring things up", not card games, we're afraid). These events will be held in the same environment as the original Poker Club - in the pubs of Edinburgh , where there is an endless supply of bar napkins to jot down inspirational notes and ideas. The Poker Club is sponsored by anCnoc single malt whisky.
So please come and join us!
WHITE MIDDLE CLASS
16/09/06 13:02
I have just cleared out my latest series of interactive projects from the MSc group show and come to the realisation that the systems I create need to change, I need something more practical and inexpensive, i feel the limits on both sides, Video is like the final frontier with open source software It needs a fast speed computer and i use a lot of it (video). Other than that I feel limited to presenting my works within institutes that can facilitate what i need, and that means presenting in a predominantly western world. If I am to keep on using systems that depend upon expensive technologies and high spec computer systems, I will ensure to address concerns that tackle social concerns, welfare, diversity and education and all the other really important objectives that will facilitate bridging the gap between those that have the technology and educational system to support this creativity and those that don't.
Consider this if you will..
Are locative media and psychogeography projects just entertainment for white, middle-class, gadget-oriented consumers? Mapping impulses, locative media projects and psychogeographic investigations of place and community have proliferated over the past decade. There is a rich, interdisciplinary field of practice and new strategies, tactics and tools are being invented all the time. However, there is also the need for critical evaluation and discussion of the relevance and impact of these cultural projects. Factors of race and class are often overlooked. Connections to the material (often military and corporate) circumstances of the development of technologies deployed in these projects are often swept aside. It is clear that more participation and play does not mean more democracy and freedom.
extracted from a recent talk by Catherine D’Ignazio a.k.a. kanarinka at the Upgrade New York .
Consider this if you will..
Are locative media and psychogeography projects just entertainment for white, middle-class, gadget-oriented consumers? Mapping impulses, locative media projects and psychogeographic investigations of place and community have proliferated over the past decade. There is a rich, interdisciplinary field of practice and new strategies, tactics and tools are being invented all the time. However, there is also the need for critical evaluation and discussion of the relevance and impact of these cultural projects. Factors of race and class are often overlooked. Connections to the material (often military and corporate) circumstances of the development of technologies deployed in these projects are often swept aside. It is clear that more participation and play does not mean more democracy and freedom.
extracted from a recent talk by Catherine D’Ignazio a.k.a. kanarinka at the Upgrade New York .
FUTURESONIC REVIEW
30/08/06 12:11
also it may interest you to hear what rhizome had to say.
Have you ever wished that, with a simple click of your mouse, you could send shockwaves through a far away location? How about soundwaves? Artist Jaygo Bloom's latest work, BUMP, allows this power at a distance, in a fun package. Web surfers can visit his site to send 8-bit sonic blasts to three portable sound modules currently located at Futuresonic2006 festival venues, around Manchester. Enjoy the colorful, retro video game-style graphics at the site, and then fire at will, making your presence felt in the UK, no matter where you happen to be. Commissioned by the Lancaster, UK, arts organization Folly, BUMP's website evokes nostalgia for the era of Pac-Man and Zaxxon. It even captures some of the initial euphoria of the early internet by tracing optimistic intentions to use the net as a force for true global connectivity. Though BUMP calls itself 'an audible assault in locative media,' a scrolling message atop the front page reassures you, 'we love your ears.' - Michelle Kasprzak
DO OR DIY
01/08/06 12:51
Here is a link to an online version of my MSc Thesis
entitled 'Do or D.I.Y' concerning copyright issues, misshandling and the
representation and miss - representation of information within electronic imagery
and contemporary art.
entitled 'Do or D.I.Y' concerning copyright issues, misshandling and the
representation and miss - representation of information within electronic imagery
and contemporary art.
TRACES OF COMMUNICATION
31/05/06 18:43
On a recent walk through town I came across this old man writing with water along the roadside.
It left an impression on me...
What trace is left by what we communicate?
Who experiences these traces of our communication?
How is our communication interperated?
Can something be equally 'invisible' and 'visible' at the sametime?
'Certain' and 'uncertain'?
What happens when multiple traces of past activity collide with one another?
How can this be presented as a digital performance / installation?
Of what significance does this visible trace hold over our relationship within the present?
SODA ASIA/ALIAS
15/03/06 19:15
Soda Magazine is an international arts magazine, based in Switzerland They recently published
some of my images and an article within the Asia/Alias issue.
Heres a small exerpt from my included text.
My studio is large and cold, it has little natural light, this is where all my ideas are put to the test,
in a space devoid of all colour, with the dust hanging gently and the sound of someone using the oxytetraline torch next door.
Outside and on my bike I pass by roads I have never even been down. On my way to pick something up, drop something off or get to a meeting on time. The sounds I hear from my Walkman and the pace of movement at times blend into one, climatic changes or the sudden unexpected motion of a similar activity can bring this about. At times this is great enough to trigger off new ideas, of which I cultivate, sometimes I believe these visitations only appear whilst I rush and my head is full of distractions.
some of my images and an article within the Asia/Alias issue.
Heres a small exerpt from my included text.
My studio is large and cold, it has little natural light, this is where all my ideas are put to the test,
in a space devoid of all colour, with the dust hanging gently and the sound of someone using the oxytetraline torch next door.
Outside and on my bike I pass by roads I have never even been down. On my way to pick something up, drop something off or get to a meeting on time. The sounds I hear from my Walkman and the pace of movement at times blend into one, climatic changes or the sudden unexpected motion of a similar activity can bring this about. At times this is great enough to trigger off new ideas, of which I cultivate, sometimes I believe these visitations only appear whilst I rush and my head is full of distractions.
INTELLIGENT ENVIRONMENTS
02/01/06 19:30
Summary only available when permalinks are enabled. Read More
PHYSICAL MANIFESTATIONS
05/12/05 19:36
Print club stickers from Seoul.
What other spaces are adorned by the content they help create?
If you could embed additional information in each of these images what would you want to embed?
as someone coming across these photos what questions would you want answered?
What are the different needs between the user(s), the provider, and the consumer(s) of this information?
If these photos were all digital what would the service/space it look like?
Given that all this can be digital why isn't it?
What other spaces are adorned by the content they help create?
If you could embed additional information in each of these images what would you want to embed?
as someone coming across these photos what questions would you want answered?
What are the different needs between the user(s), the provider, and the consumer(s) of this information?
If these photos were all digital what would the service/space it look like?
Given that all this can be digital why isn't it?
EVERYWARE
03/12/05 19:33
"I've seen a great deal of techno-optimism and even -utopianism around
ubicomp, including a fair amount from people who should know better.
But despite a deep folk understanding of some of the risks involved -
Philip K. Dick was writing stories featuring recalcitrant doors and
dilatory automated taxis in the late 1950s, and we've all heard of
HAL9000 - there hasn't really been much in the way of people pushing
back against the idea of ubicomp, in a measured and knowledgeable way.
And so I've started to make some noise about what I see coming down the
road, describing the reality I see lurking behind the marketing hype
that's already beginning to build about the ostensible "conveniences"
that await us."
-Adam Greenfield interview on Studies and Observations.
Everyware: The Dawning Age of Ubiquitous Computing by Adam Greenfield:
From the RFID tags now embedded in everything from soda cans to the
family pet, to smart buildings that subtly adapt to the changing flow
of visitors, to gestural interfaces like the ones seen in Minority
Report, computing no longer looks much like it used to. Increasingly
invisible but present everywhere in our lives, it has moved off the
desktop and out into everyday life–affecting almost every one of us,
whether we're entirely aware of it or not.
"Everyware" aims to gives its reader the tools to understand the next
computing, and make the kind of wise decisions that will shape its
emergence in ways that support the best that is in us.
ubicomp, including a fair amount from people who should know better.
But despite a deep folk understanding of some of the risks involved -
Philip K. Dick was writing stories featuring recalcitrant doors and
dilatory automated taxis in the late 1950s, and we've all heard of
HAL9000 - there hasn't really been much in the way of people pushing
back against the idea of ubicomp, in a measured and knowledgeable way.
And so I've started to make some noise about what I see coming down the
road, describing the reality I see lurking behind the marketing hype
that's already beginning to build about the ostensible "conveniences"
that await us."
-Adam Greenfield interview on Studies and Observations.
Everyware: The Dawning Age of Ubiquitous Computing by Adam Greenfield:
From the RFID tags now embedded in everything from soda cans to the
family pet, to smart buildings that subtly adapt to the changing flow
of visitors, to gestural interfaces like the ones seen in Minority
Report, computing no longer looks much like it used to. Increasingly
invisible but present everywhere in our lives, it has moved off the
desktop and out into everyday life–affecting almost every one of us,
whether we're entirely aware of it or not.
"Everyware" aims to gives its reader the tools to understand the next
computing, and make the kind of wise decisions that will shape its
emergence in ways that support the best that is in us.