Radius 22: Radio Tune by Public Domain:: April 1, 6, 8, and 13 at 6:00 pm CST.

Public Domain takes after its name sake, the public domain, and views, manipulates, edits, and comments on material found within it. Public Domain uses material from radio, records and the internet. The work often mirrors the collective unconscious through the use of voyeurism and dark humor. The resulting work is a collage of reality, time, and experiences.

Public Domain is Jane Burton and Doris Lake, a duo based in central London, UK. They often listen to the bells of Big Ben. Public Domain uses collage and montage to reflect upon the things they love, and simultaneously place them in ridicule. Continue reading

(Read a review here) Good Listeners is a browser plugin that exposes the secret ways in which our browsing habits are shared with and mined by 3rd party web trackers (like Google Analytics and Facebook “Like”) without our consent or knowledge. Whenever a site exposes the visitor’s data to a third party service a confessional booth window is opened and the priest in the window offers words of invisible wisdom, divine providence and spiritual guidance pertaining to matters of web browsing, social networking, e-commerce and digital identity.

Good Listeners in a critical/ amusing/ awkward visualization and sonification of the vast data dimension passively generated by us and aggressively collected and mined by these mysterious omnipresent all-seeing tracking forces of the web. Continue reading

Hz Call For Articles — Deadline: March 10 :: Please send your submissions to hz-journal [at] telia.com.

Online journal Hz is looking for articles on New Media, Sound Art, Electro-Acoustic Music, Virtual World/ Machinima and Social Media. We accept earlier published and unpublished articles in English.

Hz is published by the non-profit organisation Fylkingen in Stockholm. Established in 1933, Fylkingen has been known for introducing yet-to-be-established art forms throughout its history. Nam June Paik, Stockhausen, Cage, Stelarc, etc. have all been introduced to the Swedish audience through Fylkingen. Its members consist of leading composers, musicians, sound artists, dancers, performance artists and video artists in Sweden.

Programmed Visions: Software and Memory by Wendy Hui Kyong Chun, MIT Press:

New media thrives on cycles of obsolescence and renewal: from celebrations of cyber-everything to Y2K, from the dot-com bust to the next big things - mobile mobs, Web 3.0, cloud computing. In Programmed Visions, Wendy Hui Kyong Chun argues that these cycles result in part from the ways in which new media encapsulates a logic of programmability. New media proliferates “programmed visions,” which seek to shape and predict - even embody - a future based on past data. These programmed visions have also made computers, based on metaphor, metaphors for metaphor itself, for a general logic of substitutability.

Chun approaches the concept of programmability through the surprising materialization of software as a “thing” in its own right, tracing the hardening of programming into software and of memory into storage. Continue reading

Decode Me by Mushon Zer-Aviv and Guy Saggee (with code by Zohar Arad). Mushon says “It is a code based online campaign for DECODE, an exhibition of code based works. Participants are invited to “decode” their FB profile image into a triangle pixels combination and stamp their share on the timeline. Every day at midnight the participant with the largest share on the timeline (longest time before next decode) gets a free ticket to the show.

The show opened this last Friday and would go on until mid-March, by that time we expect the Decoder of the Day to lead with just a few minutes share…”

Computational Culture: Double Book Launch with presentations by Olga Goriunova and Adrian Mackenzie :: December 8, 2011; 5:30 - 7:30 pm :: New Academic Building, LG01, Centre for Cultural Studies, Goldsmiths College, University of London, New Cross, London.

Computational Culture is an online open-access peer-reviewed journal of inter-disciplinary enquiry into the nature of the culture of computational objects, practices, processes and structures. The journal’s primary aim is to examine the ways in which software undergirds and formulates contemporary life. Computational processes and systems not only enable contemporary forms of work and play and the management of emotional life but also drive the unfolding of new events that constitute political, social and ontological domains. Continue reading

RiTa† is an easy-to-use natural language library that provides simple tools for experimenting with generative literature. The philosophy behind the API is to be as simple and intuitive as possible, while still providing adequate flexibility for more advanced users. The download comes in two flavors: 1) the ‘core’ package, containing the jar files and documentation, and 2) the ‘TTS’ package that adds text-to-speech support. Additionally, statistical models for tagging, chunking, and parsing are available for more advanced users (see ‘Stat-Models’). RiTa optionally integrates with Processing and is both free and open-source. Continue reading

Radius Episode 16: My Hard Drive Is Experiencing Some Strange Noises (33:35) — by Gregory Chatonsky — is the sound of a defective hard drive disk picked up by a contact microphone. The acoustic wave is instantly processed by software that repeats and amplifies the sounds creating a resounding echo. It will be transmitted for three consecutive days: November 17, 18, and 19 and one single day on November 30 at 3:00 pm CST.

Gregory Chatonsky (b. Paris, living in Montreal and Paris) holds a multimedia advanced degree from the École Nationale Supérieure des Beaux-Arts in Paris and a Masters in philosophy from the Sorbonne. Continue reading

The Oil Show :: November 12, 2011 – February 19, 2012 :: Hartware MedienKunstVerein (HMKV) at Dortmunder U (3rd floor), Leonie-Reygers-Terrasse, 44137 Dortmund, Germany.

We have reached Peak Oil – the maximum capacity of global crude oil extraction and production. After Peak Oil, the total global oil production cannot be increased. In the future, demand will always exceed supply. The global struggle for resources will intensify. Despite this our dependency on oil is growing further. We cannot, or do not seem to want to do without oil. We are seriously dependent.

The works in the exhibition deal with our dependency on oil and the economic, political, and social entanglements and consequences of this growing dependency. Continue reading

Turbulence Commission: PuréeData by Ted Hayes [Optimized for Google Chrome]:

PuréeData is a web-browser interface for a single shared sound environment that allows live, collaborative patching for anyone, anywhere. Visitors interact with a shared PureData audio synthesis patch and listen to the results as an MP3 stream, with no software to install or set up. The project is open-source, and all are encouraged to modify, improve and set up their own PuréeData servers.

PuréeData is a 2011 commission of New Radio and Performing Arts, Inc. for its Turbulence website. It was made possible with funding from the Jerome Foundation. Continue reading