Nothing You Have Done Deserves Such Praise is an art/ poetry/ adventuring game, a playland for exploring our ever-present desire for constant and over-blown rewards. Our worlds (digital and breathing) are filled with needless and unearned praise, we are built to love exploding trophies for fifth place. This art/poetry game satisfies your compliment addiction by celebrating your walking/ jumping/ falling through strange and wondrous anatomical lands.

Nothing You Have Done Deserves Such Praise is a 2013 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was funded by the National Endowment for the Arts.

BIOGRAPHY

Born from the Oklahoma flatlands of farmers and spring thunderstorms, JASON NELSON somehow stumbled into creating awkward and wondrous digital poems and interactive stories of odd lives, building confounding art games and all manner of curious digital creatures. Currently he professes Net Art and Electronic Literature at Australia’s Griffith University in the Gold Coast’s contradictory shores. He exhibits widely with work featured around globe at FILE, ACM, LEA, ISEA, ACM, ELO and dozens of other acronyms. There are awards to list, boards he frequents, and other accolades, but in the web-based realm where his work resides, Jason is most proud of the millions of visitors his artwork/digital poetry portal http://www.secrettechnology.com attracts each year.

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Project 929: Mapping the Solar is a 460 mile bicycle ride to drag pieces of chalk to physically and symbolically draw a line around an area that would be large enough to create the worlds largest solar farm — one that could provide enough energy for the entire United States.

The Union of Concerned Scientists estimates that a 100 by 100 mile square solar farm in the American Southwest would be “more than enough to meet the country’s entire energy demand.”

Beginning May 19, 2013, media artist and activist Joseph DeLappe will be creating a new work of DIY durational performance which involves riding a specially equipped “long-tail” touring bicycle 400+ miles dragging pieces of white chalk. The intent is to surround the perimeter of the Federal lands that include the Nevada Test Site, “Area 51”, Yucca Mountain and Nellis Air Force Range all located just north of Las Vegas, Nevada. The performance will utilize mixed-reality (Blue Mars Lite), GPS technology and, where feasible, live streaming video for real-time documentation. He will as well, literally, draw a 400+ mile long line around the geographical area in question using an armature trailing his bike, holding custom made pieces of 15″ chalk. “Project 929” references the 928 nuclear tests that took place at the Nevada Test Site from 1951 to 1992.

Conceptually, Project 929: Mapping the Solar is an ideational and political exercise towards symbolically representing the possible, physically re-imagining geographical space for energy sustainability. To map this desire – become a moving point, line of battle, contour of an idea, an edge, line of communication, measure or guide – is a driving principle.

New York — National Endowment for the Arts (NEA) Acting Chairman Joan Shigekawa announced today that New Radio and Performing Arts, Inc. (NRPA) is one of 817 nonprofit organizations nationwide to receive NEA Art Works grants. NRPA is recommended for two grants totaling $47,000 to support commissioning new work for Turbulence.org and for continuing to archive Turbulence.org at the Rose Goldsen Archive of New Media, Cornell University.

Acting Chairman Shigekawa said, “The National Endowment for the Arts is proud to support these exciting and diverse arts projects that will take place throughout the United States. Whether it is through a focus on education, engagement, or innovation, these projects all contribute to vibrant communities and memorable opportunities for the public to engage with the arts.”

In August 2012, the NEA received 1,547 eligible applications for Art Works grants requesting more than $80 million in funding. Art Works grants support the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and the strengthening of communities through the arts. The 817 recommended NEA grants total $26.3 million and span 13 artistic disciplines and fields. Applications were reviewed by panels of outside experts convened by NEA staff and each project was judged on its artistic excellence and artistic merit.

For a complete listing of projects recommended for Art Works grant support, please visit the NEA website at arts.gov.

You are at a helm of a submarine navigating the depths of the ocean. At each strata, you see and hear different organisms. In the sunny epipelagic zone, watch the fast and massive tuna swim by in schools. Or catch a glimpse of the rare sea pig in the darkness of the abyssopelagic. Each of these organisms contributes a spatialized motif to the evolving soundscape.

Submersible is a 2013 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funds from the Jerome Foundation.

BIOGRAPHIES

Yotam Mann makes music with technology. His work ranges from an endless Bach choral generator to an interactive web-based EP. He currently freelances in NYC doing music and sound for interactive media.

Niv (”neeev”) Bavarsky is an artist/ illustrator/ person living in CA’s Bay Area. His creative output includes editorial illustration, album covers, posters, comics, clothing graphics & patterns, collaborative drawing & painting, and music. His favorite kind of logic is dream-logic.

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Commissioned specifically for Pace Digital Gallery WoodEar, the installation, expands into the gallery the software that launched on Turbulence.org in 2012. The work attempts to merge the dynamic qualities of the biological network of a tree — roots gathering water and nutrients; leaves using sunlight to produce food; and phloem and xylem moving water and nutrients across the structure — with the digital network of the Internet. A series of sensors attached to the tree stream data on the state of its environment — light, temperature, air pressure, and wind. This live data, merged with images and recordings of the tree’s immediate surroundings, is made audible and visible in the gallery.

With public funds from the National Endowment for the Arts and the New York City Department of Cultural Affairs.

“Awkward_NYC” is now “Awkward_Everywhere.” It is a collaborative online map for reporting social accidents and small interpersonal traumas that occur unexpectedly in public spaces. Anyone can add a story to the map. The map pinpoints sites in the New York Metropolitan or anywhere in the world where misunderstandings, outbursts, physical altercations, arguments between friends or strangers, and romantic spats or break-ups have occurred. It taps into the confessional, voyeuristic, narrative impulses that typify online behavior and subverts the notion of mapping as reductive, objective, and authoritative. As stories are added to the map, a series of data visualizations depicting the emotional terrain of various cities will be generated.

Participate via the website or twitter, #awkwardnyc.

Awkward_NYC/Awkward_Everywhere is a 2012 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funds from the Jerome Foundation.

BIOGRAPHY

Zannah Marsh is a Brooklyn-based artist, designer, educator, and programmer with an interest in narrative data and collaborative storytelling. She has taught multimedia art and design at New York University, the New School, and in the City University of New York system. Zannah was a resident researcher at NYU’s Interactive Telecommunications Program, and she’s interned with the Creative Systems Group at Microsoft Research and with Area/Code Games in New York City. She also worked as an exhibit developer at the Museum of Science in Boston, producing internationally-traveling interactive exhibits. She has a MPS from NYU’s Interactive Telecommunications Program (2009), and a BFA from the School of the Museum of Fine Arts in Boston (2000).

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Following a brief introduction by Turbulence.org’s Co-Director, Helen Thorington, artists Andy Deck and Zannah Marsh will present their recent net art commissions, Crow Sourcing and Awkward_NYC/ Awkward_Everywhere. Both artists designed participatory platforms and enlisted participation using Twitter and other online social networking services. A discussion with the audience will follow.

Organized and co-presented by Turbulence.org and Harvestworks. This project is made possible in part with public funds from the New York State Council on the Arts’ Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes:

Sunrise/Sunset is a series of net art projects commissioned by the Whitney specifically for whitney.org to mark sunset and sunrise in New York City every day. Unfolding over a timeframe of ten to thirty seconds, each project accompanies a transition of the website’s background color from white (day) to black (night) and vice versa. A new project will be posted every three to four months.

“goodmorning goodnight” by JODI explores visual and textual representations of sunset and sunrise in the online environment. Overlaid on a grid of latitudes and longitudes of the area surrounding the Whitney Museum are location-specific images of sunsets and sunrises culled from Panoramio, a photo sharing website. Viewers of “goodmorning goodnight” can follow the visual path of these sunsets and sunrises in different locations around Manhattan. Superimposed over the sunrise and sunset images is a layer of text comprised of scrolling lines and comments scraped from livedash, a website that allows users to search for particular words or phrases on national television. Meanwhile, a progress bar at the bottom of the webpage keeps track of the thirty-second duration of the project in real time. In JODI’s signature style, the web is turned inside-out by foregrounding its iconography, processes, and codes. “goodmorning goodnight” collapses user-generated and media representations of time and space into a single view of Manhattan seen through a browser window.

JODI (Joan Heemskerk and Dirk Paesmans), or jodi.org, started pioneering Web art in 1994. Based in the Netherlands, they were among the first artists to investigate and subvert conventions of the Internet, computer programs, and video and computer games. JODI stages digital interventions that destabilize the relationship between computer technology and its users, radically disrupting the very language of these systems. They use a wide range of media and techniques — including installations, software, websites, and performances — to challenge our relationship to the technologies that we depend upon every day. JODI’s work has been featured in numerous texts on electronic and media art and exhibited worldwide at venues including Documenta X, Kassel; Stedelijk Museum, Amsterdam; ZKM, Karlsruhe; ICC, Tokyo; CCA, Glasgow; Guggenheim Museum, New York; Centre Pompidou, Paris; Eyebeam, New York; FACT, Liverpool; and MOMI, New York.

Artist, coders, poets, and engineers are invited to apply for a six week artist residency in the virtual environment / game space of Minecraft. Minecraft is a sandbox where creativity and ludology intersect in a highly social space rich with possibilities due to relative openness of the code and hosting options.

Ars Virtua is soliciting proposals for its Artist-in-Residence program (AVAIR). Established and emerging artists are invited to participate. The residency will culminate in an exhibition and opening in Minecraft and documentation in Minecraft and on the web. Depending on the nature of the exhibition a downloadable “world” may also be made available. Residents will also receive a $400 stipend, training and mentorship as necessary.

AVAIR is an extended performance that examines what it means to reside in a place that has no physical location. The purpose of the residency is to reflect on the nature of the game environment and terrestrial world in the context of contemporary art. NO Previous experience in virtual environments or Minecraft is necessary.

Ars Virtua is keenly aware of the power of virtual worlds. The arts continue to shape our understanding of technologies, this residency targets both gamespaces and virtual environments as a place for emergent art, performance art, coded art and social experimentation. It is the purpose of this residency to give direct attention to the interrogation of the space, place, and metaphor. Residents will be encouraged to explore, experiment with and challenge traditional conventions of art making and distribution, value and the art market, artist and audience, space and place, data and reality.

The residency will take place in Orwell on our semi-private server and in our building space. Potential residents are encouraged to visit beforehand.

Application Process:

Artists are encouraged to become familiar with Minecraft before applying. Be aware that there is a limited free trial, and that finalists will be contacted for an in world interview, if you do not have an account at that time one will be provided. Applications will be judged based on ideas presented and work previously executed. We are looking for an artist who is willing to work within what may be a new environment for them and be prepared to evolve in response to the malleable world that is Minecraft.

To apply send the following information to avair-at-arsvirtua.com:

1) Name, address, phone number, email address.
2) A brief statement about what interests you about Minecraft or what you might like to explore.
3) Link to an online portfolio (expect a 5 minute visit). If you do not have an online portfolio please briefly discuss your work.
4) one page proposal. Note that the proposal is NOT a commitment, but expresses your interest.

Applications are due on or before March 21, please send any inquiries or additional questions to avair-at-arsvirtua.com.

Ars Virtua is sponsored by the CADRE Laboratory for New Media.

AVAIR was originally commissioned in 2006 by New Radio and Performing Arts, Inc. (aka Ether-Ore) for its Turbulence web site. It was possible with funds from the Jerome Foundation.

We know how you feel. Panemoticon observes your behavior, makes a few inferences about your emotional state, and plays music to match your mood. Your mouse/trackpad use says a lot about your energy level, confidence, and perceived control over your environment. Panemoticon tracks and analyzes these data to create an image of your mood, and then generates music, adjusting properties such as tonality (major/minor), harmonic & rhythmic complexity, tempo, timbre, and proximity. Collective mood is calculated for all Panemoticon users on a given site.

Panemoticon is a 2012 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funds from the National Endowment for the Arts.

BIOGRAPHIES

Ali Miharbi is an artist whose work can take many forms from photographic, graphic or sculptural pieces to dynamic systems driven by live or stored data. His recent work investigates the relationships between analytic and synthetic processes by taking systems within the fields of economy, management, psychology, sociology, computer science, and linguistics. His work has been exhibited in Turkey, Mexico, USA, Germany, South Korea, Australia and Brazil.

John Priestley is a musician, software developer (Virginia Commonwealth University School of Medicine), and doctoral candidate (VCU Media Art & Text) pursuing research on generative music.

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