Barbara Lattanzi’s Optical De-Dramatization Engine :: June 8-11, 2012 :: Opening Reception: June 8; 6:00 - 8:00 pm :: Harvestworks Digital Media Arts Center, 596 Broadway, #602, NYC.

In the algorithmic work, Optical De-dramatization Engine (O.D.E.) applied in 40-hour cycles to Thomas Ince’s ‘The Invaders’, 1912, 20 frames were sampled from each minute of Thomas Ince’s 40-minute film. The O.D.E. software (coded in ActionScript) takes each sampled minute and dynamically extends it to one hour. At the end of 40 hours, the cycle repeats. Continue reading

Ben Rubin: A Shakespeare Accelerator: Experiments in Kinetic Language :: until July 28, 2012 :: EMPAC, 110 8th Street, Troy, New York. Continue reading

[BADco. "Responsibility for Things Seen", 2011, photo: Dinko Rupčić] Symposium: Actionable Image: Agency of Image, Performance of Body, Apparatus of Spectating :: March 16-17, 2012 ::  Zagreb, Croatia :: Call for Participation - Deadline: February 10, 2012.

This symposium and its topic are a continuation of BADco.’s artistic interest to relate performance and image. More concretely, it was motivated by our most recent work Responsibility for Things Seen that was presented in 2011 within the Croatian participation at the Biennale di Venezia. The work required us, in the absence of performers in the six-months exhibition, to pursue the idea of ‘theater by other means’ and to custom develop a database video system that unfolds a particular nexus of body, image and technology. Continue reading

Eve Sussman and her collaborative team Rufus Corporation are touring their latest film project whiteonwhite: algorithmicnoir, to the Sundance Film Festival, Berlinale, and Site Santa Fe in January and February 2012. Continue reading

Beyond Blind Mist: A Conversation with Brad Troemel and Jonathan Vingiano by Nicholas O’Brien, Bad At Sports:

“Over the past year Brad Troemel and Jonathan Vingiano have been steadily collaborating together to create platforms of digital exchange and dialog through their development of various browser-exclusive projects… Continue reading

December 2, 2011, to February 19, 2012, the FRAC Centre presents Gramazio & Kohler and Raffaello d’Andrea, Flight Assembled Architecture, the first installation to be built by flying machines.

In 2011, Gramazio & Kohler and Raffaello D’Andrea started to develop a pioneering approach on dynamic material formation and machine behaviour.

Belonging to the generation of young architects aiming at using the full potential of digital design and fabrication, Gramazio & Kohler joined with Raffaello D’Andrea whose work addresses ground-breaking autonomous systems design and algorithms. Continue reading

Algorithmic Unconscious curated by Phillip Stearns :: November 4 - 28, 2011 :: Opening: November 4; 6:30 - 11:30 pm (Performances start at 9:30 pm) :: Devotion Gallery, 54 Maujer Street, Brooklyn, NY.

Digital is anti-noise. In the shift from analog, physical, or chemical forms of art making — where physical agents operate on physical material — to digital, the noise of the medium is minimized (controlled) as a default of the technological substrate.

Algorithmic Unconscious highlights machine/ human collaborations where the primary material in the works exhibited is the inherent noise of electronic systems. By emphasizing random fluctuations, the artists explore the potential for electronic technologies to misinterpret and re-imagine the signals they are processing in order to complete the work. Continue reading

Immersion Into Noise by Joseph Nechvatal, Open Humanities Press:

The noise factor is the ratio of signal to noise of an input signal to that of the output signal. Noise can block or interfere with the meaning of a message in both human and electronic communication. But in Information Theory, noise is still considered to be information.

By refining the definition of noise as that which addresses us outside of our preferred comfort zone, Joseph Nechvatal’s Immersion Into Noise investigates multiple aspects of cultural noise by applying the audio understanding of noise to the visual, architectural and cognitive domains. Nechvatal expands and extends our understanding of the function of cultural noise by taking the reader through the immersive and phenomenal aspects of noise into algorithmic and network contexts, beginning with his experience in the Abside of the Grotte de Lascaux. Continue reading

Third Hand Plays: “automatype” by Daniel C. Howe by Brian Stefans:

Daniel C. Howe, like joerg piringer and Erik Loyer, can be described as both an artist and a researcher. His homepage lists a number of projects, many in progress, some merely sketches, bu he doesn’t make any clear division between research and art, not surprising given his array of degrees and residencies. An early project involved developing a series of 3D fonts, which puts him in a tradition of experimental font makers including the previously mentioned Paul Chan, who replaced individual letters with words, scribbles, or abstract shapes, Peter Cho with his Letterscapes, and Just van Rossum and Erik van Blokland, who created the first “RandomFonts,” which resemble conventional letters but with visual variations — added noise, slight warps in the lines and points — with each click of the key.” More >>

Surveillance Cinema: James Coupe :: August 11, 2011; 7:00 - 8:00 pm :: Henry Auditorium, University of Washington, 15th Ave NE and NE 41st Street, Seattle, WA.

In conjunction with the exhibition The Talent Show (through August 21), The Henry Art Gallery invites you to join artist James Coupe for a screening and discussion of the artist’s recent work with ’surveillance cinema’ in (re)collector, Surveillance Suite, and the web-based work Today, too, I experienced something… I hope to understand in a few days.

James Coupe is an artist whose work focuses on emergent systems, aesthetic machines, autonomy, and networks. Educated in Fine Art at the University of Edinburgh (Scotland) and Creative Technology at the University of Salford (England), his recent projects have included appropriative powerline networks, parasitical cellular phone agents, autonomous robot systems, self-organizing telephone call centres, and installations in which computers use spam to search for the meaning of the Internet. Continue reading