Deep Thought V.2 is an artificial intelligence machine, a futuristic fortune teller who uses Twitter as its memory center, from which extracted phrases to communicate in random and poetic way with its environment. Deep Thought analyzes brain signals with galvanic sensors, understanding moods from the variation of current in the skin. It then uses this information to generate searches inside its Twitter memory to find and select phrases to communicate.

Wanted tweets #dtv2: We seek people who share their deep thoughts, micro-poems, micro-philosophy and derivatives. This will help us to extend the memory of our fortune teller, poet, thinker, futurist, machine. Just add hashtag #dtv2 in your tweets.

Tweets in Space by Scott Kildall and Nathaniel Stern:

We will beam Twitter discussions from participants worldwide towards GJ667Cc — an exoplanet 22 light years away that might support earth-like biological life. Continue reading

Blow-Up is pleased to announce Locating Story by Dora García, a Twitter performance beginning February 20.

Locating Story combines twitter, geo-location software and performance. A performer will monitor a person as they move through the city, from home to work, from his work to elsewhere. The performer does not know the person; like a detective, he is only given a very brief description and an image - therefore, the performer’s first task is to determine who the person is and what his daily routine appears to be. All these observations are transmitted via twitter to a twitter account @locatingstory and to the platform. Continue reading

[WikiLeak - Kaupthing Claims, 2011, Rules Series. Gouache Wall Painting. Dimensions variable.] Short Big Drama – Angela Bulloch :: January 21 - April 9, 2012 :: Opening: January 20; 7:00 - 9:00 pm :: Witte de With Center for Contemporary Art, Witte de Withstraat 50, 3012 BR Rotterdam, The Netherlands.

Short Big Drama highlights the theatricality of the artist’s practice. This comprehensive exhibition presents a wide selection of existing works together with specially commissioned new pieces. The spotlight falls on three types of works — monumental wall paintings, colorful Pixel Box installations and interactive Drawing Machines. Continue reading

#TrainingYRHuman by ecoarttech: A participatory Twitter-based artwork about the agency of animals who live with human-animals. While new scientific research has illuminated animals’ behaviors, their ethical attitudes, modes of cognition, and psychological awareness, our everyday experiences can also tell us a lot about our companion species if we listen carefully — about their diverse personalities and creative problem-solving and the ways they invent to express themselves and meet their needs in desires in a human-dominated world.

The #TrainingYRHuman participatory physical installation will début in beta form at the Animal Influence media art exhibition at Emily Carr University of Art + Design’s Intersections Digital Studios, November 2011. Thank you to University of Rochester for support of this project. More info >>

Marked Territory — A Physical Twitter Client that lets you Retweet News Stories Based on Brute Strength — by Jonah Brucker-Cohen, with Erin Kennedy Continue reading

The Printing Dress by Asta Roseway and Sheridan Martin Small: You are probably familiar with the old saying, “You are what you eat” but how about, “You are what you tweet?” What if this concept were incorporated into garments of the future? Would you censor yourself, knowing you would reveal your statements to the world around you?

The Printing Dress is an artistic piece that explores the notion of wearable text and its potential impact on the future of fashion, as well as our social identity. Built almost entirely of paper, the dress enables the wearer to enter “thoughts” on to its fabric and wear them as public art. By selecting materials and technologies that draw on the past, present, and future of communication media, we encourage viewers to reflect on the path that has brought us to ubiquitous digital communication and to contemplate its forward evolution. [PDF]

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 >>

Alone or Not: Perception, Body and Social Media is a choreographic frame for creating and exchanging bodily experiences. Participants send short SMS messages or tweets about their movement, actions and perceptions to each other. Together they create a social network of bodily movement that becomes a shared choreography that is documented in Twitter and the project’s website.

Owing to technical reasons the SMS message exchange works only through Finnish telephone operators and mobile phone numbers with the country code (+358) that are used in Finland. If you want to join the SMS group you should enroll by the 12th of September 2011 at info [at] aloneornot.org. You can also participate directly through Twitter.

“…send kinaesthetic tweets and improvise wherever you may be.” Susan Kozel

ISEA Istanbul presents La Plissure du Texte — Chair Per­son: Elif Ayiter; Pre­sen­ters: Roy As­cott, Jan Baetens, Elif Ayiter, Max Moswitzer, Selavy Oh :: Sep­tem­ber 17, 2011; 1:00 - 2:30 pm :: Sa­banci Cen­ter Room 1, Sa­banci Cen­ter, Lev­ent.

This panel will un­der­take a close scrutiny of La Plis­sure du Texte, tak­ing into ac­count both its cre­ation in 1983 and its re-cre­ation in 2010, dis­cussing the work in its role as a land­mark of New Media Art His­tory as well as an art work which has shown the ca­pa­bil­ity of re­gen­er­at­ing it­self as an en­tirely novel man­i­fes­ta­tion based upon the con­cepts of dis­trib­uted au­thor­ship, tex­tual mo­bil­ity, emer­gent semi­o­sis, mul­ti­ple iden­tity, and par­tic­i­pa­tory poe­sis. Continue reading