Archive for the ‘pictures’ Category

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and the winner of the Vilém Flusser Theory Award is…

 Jaromil AND Brian Holmes



Denis Jaromil Rojo is a developer and media artist inspired by the GNU free
software movement: he follows the ideal of creating free software for
freedom of expression, to let people communicate, freed from
consumerist speculations and the need for expensive hardware. He is
author of the GNU/Linux Live CD dyne:bolic, of various free software
audiovisual  tools and  net-art  productions as  HasciiCam, the shell
:(){ :|:& };: forkbomb and Time Based Text. Featured as an artist in CODeDOC II
(Whitney Museum Artport), Read_Me 2.3 ( software art),
negotiations 2003  (Toronto CA), I  LOVE YOU (MAK Frankfurt), Netarts
(Machida Tokyo),  Rhizome,  Data Browser 02 (engineering culture),
Crosstalks (Vrije Universiteit Brussel) and in several other

The blog, Continental Drift at, is an essay-writing worksite, updated continuously with Brian Holmes entire output as a public intellectual, whether occasional talks, spur-of-the-moment rants or polished full-length texts dealing with the analysis and subversion of cognitive capitalism and liberal empire.The blog was launched in early 2007 in parallel to the work of the autonomous seminar Continental Drift, developed since 2005 in collaboration with Claire Pentecost and the 16 Beaver Group ( The seminar, gathering artists, theorists and activists, was conceived as a response to the deterioration of democratic discourse and public space under the influence of the outgoing American imperial administration. The essays on the blog are therefore Holmes personal work, but can also be considered as individual contributions to a collective practice.

Materials from the blog have recently been gathered into a book, _Escape the Overcode: Creative Art in the Control Society_, which will be published in early 2009 by WHW and the Van Abbemuseum. The book is freely accessible:

upcoming: transmediale09


Looking beyond the evolving alarmist scenarios of environmental catastrophe prevalent in the global warming debate, transmediale.09 shifts the focus of this challenge to the broader cultural, societal and philosophical consequences that the collapse of the northern ice barrier reveals.

the at this years festival will be bigger than ever over ten peole are on their way from vienna to berlin to cover the exibition, write about the lectures, capture performances and provide an artist interview every day – it’ll be worthwhile to check for new post every day during the festival!

Image Fulgurator by Julius von Bismarck (DE)

The winning Project of this years Prix Ars is the Image Fulgurator by Julius von Bismarck (DE) – with good reason. The project is based on technology that’s been out there for the last 40 years. All it does ist to invert the concept of an analog SLR camera and turns it into a projector.

image fulgurator

A flash is mounted on the back of a SLR camera and connected to a flash sensor. As soon as a flash from another camera is recognized, the flash goes of, shines through the the dia thats inserted in the camera and projects the image for a few milliseconds – just long enough to be recognized by other camera that triggered the flash initially.

A detailed description can be found on his homepage.



Glow is a dusk to dawn performance and media art festival which took place for the first time on July 19th 2008 in Los Angeles. It is envisioned as a museum without walls, a way of bringing contemporary art to the public. “Media art meets the masses”, that sort of thing. The public in question for this particular event consisted of 200,000 people passing through a stretch of beach and an old historic pier all in a single night. The massive scale of the event probably left many of its commissioned artists wondering how they could ever go back to the narrow confines of the gallery again.


My favorite installation is by New York based Taiwanese American Artist Shih Chieh Huang whose recent exhibitions have taken him to the Venice Biennale, the New Museum of Contemporary Art in Manhattan and the Shanghai MOCA to name only a few. His process-orientated work transforms mass produced objects and everyday detritus into kinetic sculptures which seem infused with life.


Before receiving the commission from Glow, he happened to be doing a two-month residency at the Smithsonian in Washington which allowed him to study the Smithsonian’s collection of iridescent marine life forms. For Glow, he filled the walk way under the historic Santa Monica pier with slow-moving sculptures of marine creatures intricately constructed from zip-ties, power adapters, plastic bags, wires and plastic tubes… To me his work is always very much about material. There is a lot of aesthetic discipline in the way he juxtaposes one piece of recycled waste and the next.


I missed most of the works displayed that night, but I especially regret not seeing Usman Haque’s ‘Primal Source’ up close. A giant water screen is conjured up on the sand. The sound created by the nearby audience constantly changes the light patterns projected onto the water screen. At some point during the night there were thousands of people surrounding this piece. If Glow is all about public spectacles, then this was certainly the showpiece. Usman Haque has a background in architecture and has been responsible for a number of impressive large-scale interactive installations recently. Check out his website for more.


You can just make out Usman Haque’s upside down waterfall on one side of this picture, the bright spot on the other side is my piece Moon Theater created in collaboration with Michael Kontopoulos and based on code by Andres Colubri. Moon Theater is designed to address issues of scale and social performance in a public setting. In the context of Glow, it is realized as an opportunity for communication and expression between members of a large crowd.


The piece successfully sustained a community around itself throughout the night, transforming strangers into collaborative performers.


Shadow puppets are mapped onto the movement of people’s hands and projected onto our artificial moon using code written in Processing.

Moon Theater from Nova Jiang on Vimeo.


To quote another artist exhibiting at Sonar, ‘I hate crowds, but I’ve never hated a crowd this big.’ SonarMatica (the multimedia exhibition inside Sonar Complex) turned out to be a nice place to escape from the relentless chaos and irreparable ear damage. Be warned, there is nothing in this blog about music and only very partial coverage of one multimedia exhibition. I managed to miss SonarCinema, Sonarama and Arte Digital A La Carta, having spent all my time in the dark vault where Sonarmatica took place nursing my piece.


The theme at Sonarmatica this year is future-past cinema. Beautiful pieces of pre-cinematic technology are resurrected and displayed side by side with some very slick new media art. This really brings an interesting historical perspective to the exhibition. I think it’s a good idea to be humbled by the old timers now and then. For example, Alvaro Cassinelli’s ‘Boxed Ego’ which exploits stereoscopic lenses faces a large 18th century stereoscope. Two centuries can be traversed by a few steps. ‘Boxed Ego’ invites the audience to peer into a box to see a tiny three dimensional video of him/her self in the act of peeping. The video is deliberately delayed which creates an interesting awareness of time. The theme of self-voyeurism is unsurprisingly very popular with the festival goers.


Marnix de Nijs’s “The Beijing Accelerator” is quite an experience. A joy stick is used to synchronize the movement of the chair with the movement of the city scape on screen. Giddy, disorienting and fun, it’s tempting to ignore what the artist intends and just spin as fast as possible while trying not to fall off.


Stage Fright” uses the simple mechanism of a swing to make a simple narrative unfold. The participant must swing as high as possible in order to see what happens next. The project is developed at the Medialab-Prado during the Interativos workshop with a team of awesome collaborators. I especially want to thank Valeria Marraco, Sytse Wierenga and Emanuel Andel for creating the video.

One of my favorite pieces at SonarMatica is Julien Maire’s performance “DemiPas”. It features a converted projector that uses slides which are intricate little machines in themselves. The complicated mechanical movement of the ‘slides’ animate different scenes and push the story forward. It was whimsical and moving, I strongly recommend seeing it. It worked nicely with Takashi Kawashima’s shadow puppetry performance “Takashi’s Seasons” which mixes the traditional and the new.

Other cool pieces…

FLIPBOOK! – Juan Carlos Ospina Gonzalez / Fabrica

Andy Cameron, Oriol Ferrer Mesià, David McDougall, Joel Gethin Lewis, Hansi Raber – FABRICA – We Are The Time. We Are The Famous

Julian Oliver – levelHead
Paola Guimerans, Horacio González e Igor González – Biophionitos

A zoetrope!

Immodesty, Day 9

First Day of the shooting, after yesterday’s indoor shootings we realized that the idea with the flashes won’t work out so we moved outside. Moving the whole setup and realizing the camera is quite tricky, especially because the viewfinder of the cameras is like you’d expect it from a 10$ camera… here are two of the scenes we shot:

Here are the setpic’s oft the day:
Continue reading ‘Immodesty, Day 9’

Arduino Workshop: Appendix


Simone showed me two more really helpful things: what you can see here is called wire wrapping. It’s a technique to create circuits w/o soldering, and it looks great ;) You have to use wrap pins that you simply beat into the board, then you use a little stick to put the wire around the pin, which is actually faster done than soldering.


Also Simone showed me a kind of “Bible” for people hacking around with circuits: The Cmos Cookbook. This seem to be really useful, it contains all cmos components available including description, picture and explanation how to connect them.

Immodesty, Day 5&6

Day 5: nothing but ill. Day 6: great.

We finished all the mounting pieces and found a place inside mataderos where we can set up the installation and leave it there untouched until the end of the workshop. The only minus-point of the day: all the cameras have 2b rewired, electronics don’t work as easy as we thought: It’s not possible to just wire all the release-switches parallel – every one has to have it’s own opto-isolator plus pull-down resistor attached to it. Karolina is actually going crazy resoldering all the switches, cameras, resistors and opto-isolators…

pictures of the day:

Immodesty, Day 3&4

Ok, here’s a fast endorse of the last days. Karolina and Sofy continued soldering all the cameras, i think they are finished in the meanwhile. We finally figured out how we’ll handle the mounting and the adjustment of the cameras and found a really great place to produce it: the woodshop of Mataderos, another project of INTERMEDIÆ Madrid. There’s an opening of an exhibition tonight, i’ll do a special post about it – that place’s definetily deserves it. As a preview you can check out the photos on Flickr tagged with Mataderos

Arduino Workshop, Part 4

Honestly, i missed the first part – i just arrived when the first example was finished: basically the job was to change the blinking frequency according to the value received by the potentiometer (or any other variable resistor) => arduino file

So now we’re starting to use the arduino to pass values to processing and change the displayed image. Therefore we change the ” Serial.println(inputPin)” which would print the received value and change it to “serial.print (val,BYTE)” which will sore the received value in a Byte (0-255) which can then be read by processing. In processing we us this value to define the parameters of a rectangle in processing. => arduino file => processing file

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