Monday, January 29, 2007

Signed Paul Schmelzer

Paul Schmelzer, as signed by Yoko Ono

Many years ago I had lunch with an 8-year-old named Spencer and his father, Ron. We were at an outdoor restaurant in Madison, Wisconsin, and one of that town’s favorite sons, jazz musician Ben Sidran, sat at a nearby table. Ron urged Spencer—who has Asberger’s Syndrome, a milder form of autism—to get Sidran’s autograph, and Sidran, accustomed to such requests, gladly obliged. But when he handed the autograph back to the boy, Spencer scolded,

“Not your name. Mine!”

After regaining his composure, the musician scribbled out his own name and rewrote the boy’s.

Four or five years ago, inspired by Spencer’s impromptu deconstruction of celebrity, I began asking artists, writers and political figures to sign my autograph, either in person or through letters.

Paul Schmelzer Signifier, signed..






Paul Schmelzer as signed by Annie Sprinkle



A simple enough premise, my intention was to both critique celebrity (what does it mean that Yoko Ono signed the name of a complete unknown? And is there any value to that signature?) and celebrate those who have shaped my beliefs, by either their positive or negative examples (Studs Terkel versus, say, rightwing musician Charlie Daniels).

I’ve pondered what these responses might mean to me (it’s zenlike, this repetition of my name; it’s egotistical; it’s a transfer of energy from those I respect to me; it's a bit like the mantra-like repetition of a graffiti writer's tag; it fits into an art historical context alongside explorations by Richard Prince, Bruce Conner, Alan Berliner, and others), but always return to this simple belief: the autographs stand alone and don’t need all this intellectual justification.




Paul Schmelzer as signed by Bruce Sterling



Paul Schmelzer as signed by Laurie Anderson



Paul Schmelzer as signed ("several times") by Henry Rollins



Paul Schmelzer as signed by Peter Bogdanovich



Paul Schmelzer as signed by Pat Buchanan



More than 70 celebrities so far have contributed to the project, and another 40 either didn’t understand it, and signed their own names.

Most of the signatures come as highrez pictures, ideal too sign your cheques :)

Signifier, signed..

Sunday, January 28, 2007

Shoal of little fishes in the snowy streets of Russia



Bedazzling and poetic. Some melting snow in the middle of the city turned into a wonderful little fish pond.

digged at wooster

Saturday, January 27, 2007

boredomresearch

bugs, biomes and real snails


new zealand garden snails

Eventually this system will be built into an installation version in 2007/08. Where an individual can visit the 'Real Snail Mail' website and email a message which travels at the speed of light to our server where it is entered into a queue. Here it waits until a snail wonders in range of a hot spot. The hot spot is our dispatch centre in the form of a RFID reader. This reader identifies the snail from the RFID chip attached to its shell and checks to see if it has not already been assigned a message to carry. If the snail is available it is assigned the message at the top of the list. It then slips away into the technological wasteland. Located at the other end of the pond (in the case of aquatic snails) is the drop off point. When, or if, the snail ever makes it here, it is identified by another reader, which then forwards the relevant message to the recipients email address; once again travelling at the speed of light.



Collaborating as boredomresearch, Southampton based Vicky Isley and Paul Smith have gained an international reputation for interrogating the creative role of computing. Their enthusiasm for scientific modeling techniques and fascination with natural systems inspires them to produce beautifully crafted software art that presents an exciting alternative to our technologically fraught lives.


biomes exhibited spread out over the floor at Aspex Gallery (April-June 2005)

The biomes are a series of six screen based computational art works that use generative processes in the creation of a dynamic world.






biomes exhibited in the New Forest Pavilion parallel with the 2005 Venice Biennale

A biome's small circular window looks in on a vast sealed universe in which you see a number of intricately patterned bodies going about their business. Observing at length, you will see an almost unlimited diversity of form, colour and pattern, as these creature-like machines enter and leave the viewable area.


a detail from a biome screen

"The biome works were developed after extensive research into computational models used in the study of artificial life. Our desire is to implement these techniques in a way that explores properties present in natural systems. We were interested in the diversity of form and pattern that appears in natural systems and how a similar diversity can be produced using simple rules."

The biome machines generate their own markations using a pattern generator based on simple rules. Each biome is running the same software but as the machines are generative each system is evolving differently.



The work exists as an object that can either wall hang or be free-standing. Each system is completely self contained including its own custom built computer and screen. The screen is visible through a circular lens that has a foreshortening effect, bringing the image surface level with the surrounding frame to subtlety but profoundly change the viewing experience. In this form the work is experienced intimately where only a few people can view a biome at one time.



detail of ornamental bug garden 001

Peering through the square window of ornamental bug garden 001(obg001) viewers see a population of spring objects attempt to space themselves evenly across the floor. Many are forced onto wires, the arrangement of which encourages their assent until they are either ejected by a falling weight or reach the top where their only option is to jump. On their decent they collide with flowers and bubbles before ending back on the floor, causing all their comrades to shuffle around From this point the cycle begins again.

detail of ornamental bug garden

Behind a glass slab hanging on the wall, an ecological system works as a living kinetic painting. Below branches, generated with Lindenmayer algorithms, is a delicate ecosystem where tiny shapes jump around and onto each other, spores explode, and bubbles float like pollen.

"Even if you understand nothing about the Ornamental Bug Garden piece (and I'm not sure I understand the work at 100%), its sheer beauty is such that you'd want to take the installation and install it in your bedroom to gaze at it during hours."
Régine Debatty

ornamental bug garden 001

Although OBG001 uses modelling techniques similar to those used by scientists, instead of aiming to understand something existing, we hope to build something new of intrigue and beauty. OBG001 is a biosphere; a close system like the earth taking only energy as its input other than that nothing enters or leaves



via > via

Thursday, January 25, 2007

The New School of Wedding Photography

Pamela Duffy


Wedding photography isn´t exactly the most respected area of photography. In fact it is to photography what G.W.Bush is to presidents of the United States. Often seen as ridiculous, not to be taken serious. Admittedly even placeboKatz has never put any effort into presenting this lost art. Thanks to pdn there´s a collection of photographs online that counters any prejudice about this unloved genre.
The 2006 top knots: The New School of Wedding Photography



Suzy Clement



Aisha Harley

Scott Streble

Mark Hillis

Thomas Hart Shelby

Michael Crouser


Marla Aufmuth

Pat Mazzera

more

via via

Tuesday, January 23, 2007

Tagging • Interactive Paintings



Aram Bartholl, previously featured with his public installation SPEED and the "do it yourself set" First Person Shooter, created three interactive paintings "Static", "Dynamic" and "Centric". Each image shows an individual black and white pattern, handpainted with Edding on PVC foam board, which can be decoded by using a standard camera phone.






Each image shows an individual black and white pattern which has been painted manually with an edding 850. These patterns have been created by a special software on a computer. It is possible for any visitor to decode each "Semacode" by using a standard camera phone. Similar to the generic Barcodes the technology of Semacode makes it posssible to encode a specific amount of data within the pixel pattern. This string of data can be decoded from an image taken by the camera phone afterwards. The technology of Semacode is used in serveral industries for improved logistics. For the users it serves as a tool to get simple access to websites on a mobile phone. Equiped with the software the user navigates to websites by just taking a photo of a semacode which has the specific webadress encoded.





Tagging (Static - Dynamic - Centric)
Interactive Paintings 2007, Edding 850 on PVC Foam Board 150x150 cm 3 times

The three interactive paintings "Static", "Dynamic" and "Centric"are a commissioned work by the Institut for Electronic Business IEB.

A citation of Joseph Weizenbaum is encoded in the first image named "Static".
"Knowledge does NOT become unnecessary by the Internet!"

more works by Aram Bartholi

Monday, January 22, 2007

Directors Lounge 2007 • A Cinematic Cosmos

click pic for full view

Our new venue for Directors Lounge 2007, the formerly Cafe Kosmos. On the left the red enlighted Kosmos, once known as the famous Filmtheater Kosmos. Build in 1961, it was the state-of-the-art Cinema of the GDR with 1001 seats. A cinematic flagship near the landmarks of the monumental socialist boulevard Karl Marx Allee the two domed towers on Frankfurter Tor. It isn´t without a subtle irony that the old lounge of the cinema Kosmos, now turned into a multipurpose hall and discotheque, becomes the place to serve the finest cinematic tidbits.

And the winner is:

updated post from january 15th

Andreas Gogol and Telemach Wiesinger receive the
TEAM WORK AWARD at the
20th Stuttgarter Filmwinter/Festival for Expanded Media
for their film performance Landed Takes & Sound Times

congrats, well deserved





LANDED TAKES & SOUND TIMES, a live performance by Telemach Wiesinger (Film) & Andreas Gogol (Sound) has been shown in two, completely different, representations during Directors Lounge 2006 and later as part of our row of summer evenings. A new incarnation of LANDED TAKES & SOUND TIMES can be experienced these days at the Stuttgarter Filmwinter/Festival for Expanded Media (thurs 18th, 8pm and fri 19th 12 am), in Freiburg on friday 19th, 8:30pm at the E-Werk and later at the International Film Festival Rotterdam.

Telemach Wiesinger´s film sequences in LANDED TAKES run for 3 minutes each, and are recorded on travel with a static 16mm camera. Updated continuously, these location studies are combined in a fresh way for each projection space.
Andreas Gogol´s SOUND TIMES are LIVE improvisations which amplify the viusual space with sound collages and experiements thereby complementing the selected film passages.

The Expanded Cinema Performance LANDED TAKES & SOUND TIMES is a unique interplay between sound and image. Expanded Cinema stands for an experience which leaves the classic projection room to invent new forms of perception in new cinematographic worlds.
For this experience, both artists co-create an entirely new performance which is highly influenced by the location and the audience.

Andreas Gogol will present a special screening of personal works, together with Florian Krautkraemer, during Directors Lounge 2007




You can see excerpts from LANDED TAKES & SOUND TIMES as presented on
Directors Lounge 2006 thurs 16th february by clicking





Andreas Gogol, D, Sound
Telemach Wiesinger D, Film
Landed Takes & Sound Times 12 min, 16mm , 2006

excerpts from the live performance at Directors Lounge 2006
thurs 16th february
edit/camera: D. Butsch

can´t see the video? click here

Stuttgarter Filmwinter/Festival for Expanded Media thurs 18th, 8pm and fri 19th 12 am
E-Werk Freiburg, fri 19th, 8:30pm
International Film Festival Rotterdam filmprogram: STILL 16


LANDED TAKES & SOUND TIMES on placeboKatz: here and here