Archive for April, 2019

The Binary Graffiti Club in Wales For Diffusion Festival

April 30th, 2019

The Binary Graffiti Club Choir

The Binary Graffiti Club Choir

 

 

 

 

 

 

 

 

 

 

 

A vocal performance based around a series of statements, gathered from the public, that have been translated into binary code. Got something you want to say? Feeling like your voice isn’t heard? Check pout the videos showing several of the even ts including pop ups, improvisations in the street and the opening of Cynetart festival Dresden and the opening of Diffusion Festival in Wales among others. Thanks to Laura Bradshaw: Cardiff Canton Singers, Newport Mind Singers, Oasis World Choir, Chapter Singers In Wales. Thanks to Diffusion for production in Wales. http://thebinarygraffiticlub.com/choir.html

Contact me if you want to arrange for The Binary Graffiti Choir perform at your event. It sounds great with a professional choir however with community choirs the project takes shape as a public engagement project and workshops. It becomes fun when improvised with members of the public in situ.

Obituary. My Net Art Condition .

April 30th, 2019

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Obituary. My Net Art Condition. A generation has passed since I started making netart in 1994. Therefore some news: From 9th April 2019 most of my online net art pieces will be obsolete. Shockwave technology under most OS windows and all browsers is officially dead.

I will be changing my links and online netart work to show screenshots or videos in due course, they will no longer be supported in a online net art context and I am aware of the need for it to be archived. I knew this was coming for a while. These works can now be shown for exhibitions in a local environment and networked just not online. Many of them will be available as exe software, and many have been available as touch screens editions.

My desire in 1995 was that netart to be a new medium for a new cultural exchange that work online across borders and networks for everyone. I find the current cross browser /mobile platforms too much to contend with although many of my newer works have shifted to use more suitable technologies.  For 20 years I always restricted and focused making online works that could be seen outside the gallery space and in this wider parameter. Using shockwave these netart pieces became generative systems often networked and often using real time surveillance, webcam, data feeds, or news feeds and this was largely enabled and facilitated by one technology shockwave. Shockwave was more sophisticated and it enabled so many more possibilities than HTML or Javascript could. I created artworks that could now being described as data experiences where the machine is doing the creative work. Back then using code to scrape google search terms or live news feeds (2002) and merge these images into newly created art systems would have been labelled re-mediated media art experiences. For example using all the images in The National Gallery and mixing them all up at once to create an online net artwork that makes make more artworks (2006). The sort of things we are now seeing presented as a machine that artificially creates (AI). The technology is once again framing the art context.

Google was adverse to shockwave (security flaws) and Rhizome somehow overlooks the technology as parts of the netart condition / anthology.  Google now presents my websites to the world a website “not friendly for mobile” and “this website is not secure”. Its constantly fighting one machine or another.

The overriding fact that many projects were exported globally and won many awards are now not only removed from the online environment and public engagement for which they were intended.  For example Rhizome /Google means they have not been included in the Net Art Anthology I am thinking about The Central City 1996 – 2001 and Urban Generation 2004 as two example or my DNA sequencing project from 2004 also made as a dedicated netartwork. This interpretation of Netart via this Rhizome /Google platform make this work obsolete from a number of perspectives. At this stage as the coffin gets lowered all I can do is celebrate 25 years. Anyway shockwave bye bye it was fun while it lasted.  25 years was a good run.

Stanza  April 20th 2019

 

 

 

 

 

 

 

 

 

 

 

 

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