The New Media Field Manual is an aggregate of useful links & information for students interested in learning more about new media. The New Media Field Manual is intended to be more of a crash course and a buffet, rather than a comprehensive database.
Moleman 2 – Demoscene – The Art of the AlgorithmsMoleman – The Documentary Series
Apr 12, ’12
4:33 PM
Moleman 2 – Demoscene – The Art of the Algorithms
Stream the archive of Richard Kamerman live on EVR
Apr 9, ’12
2:54 AM
Motor used in Richard Kamerman's set
This afternoon, artist Richard Kamerman played a live set and DJed some of his own releases and those on his label, Copy For Your Records on Radio Heart. Sound sources for his composition included a number of rattling motors, metal pieces, a mic’ed old laptop, springs, bottle caps, and more.
You can listen to an archive of the show here.
Richard Kamerman on EVR
More on Richard:
Richard Kamerman (b. 1985, NYC) is a multi-disciplinary artist primarily focused on sound and music (as a composer, improviser, and installation artist) but also developing text-based work, static visuals, and moving image.
His artistic interest is aimed foremost on the task of magnification – both the clarity it can provide and the distortions it can produce – and secondarily, on matters of chance and human error – deliberately and repeatedly placing himself in positions with a high risk of failure to achieving some intended result.
Small sounds, small gestures – made large. Inconsequential events – made important. Basic concepts exploded to discover surprising hidden nuance (that may or may not have existed without being sought by technological means). Format translation errors, bursts of feedback, power supply failures: all embraced as necessary features of the work where they occur.
As a performer, Richard is essentially a percussionist but he rarely sits behind a drum kit, preferring to explore the percussive behaviors of various repurposed electronics, ranging from computer circuit boards to a system of amplification devices and found mechanical parts – fans, motors, etc – that he has been developing since 2006. Frequent collaborators include Reed Evan Rosenberg (as the duo Tandem Electrics), Billy Gomberg & Anne Guthrie (as Delicate Sen), Steven Flato & Corey Larkin (as Fyxzis), Jordan Topiel Paul, Eric Laska, and the quintet Frogwell (with Robert Hardin, Bob Lukomski, Jeremy Slater, and Tamara Yadao).
OHM Dedication Series #1: Beautiful Swimmers Present Don Cherry by alexchase on SoundCloud – Create, record and share your sounds for free
Apr 5, ’12
10:15 PM
Beautiful Swimmers from Washington D.C. present a brilliant tribute mix to Don Cherry, the multi-instrumentalist best known for playing the cornet & pocket trumpet with the likes of John Coltrane and Ornette Coleman. Whether this is an introduction to his vast catalogue of “world” jazz recordings or just a new way of hearing some of it, we hope you enjoy it.
The Architectural League of New York | Situated Technologies Pamphlets 9
Apr 5, ’12
7:05 PM
The Situated Technologies Pamphlets series explores the implications of ubiquitous computing for architecture and urbanism. How is our experience of the city and the choices we make in it affected by mobile communications, pervasive media, ambient informatics, and other “situated” technologies? How will the ability to design increasingly responsive environments alter the way architects conceive of space? What do architects need to know about urban computing, and what do technologists need to know about cities? Published in nine issues, of which this is the ninth and final issue, the Situated Technologies Pamphlets were edited by a rotating list of leading researchers and practitioners from architecture, art, philosophy of technology, comparative media study, performance studies, and engineering.
In Situated Technologies Pamphlets 9, Helen Nissenbaum and Kazys Varnelis initiate a redefinition of privacy in the age of big data and networked, geo-spatial environments. Digital technologies permeate our lives and make the walls of the built environment increasingly porous, no longer the hard boundary they once were when it comes to decisions about privacy. Data profiling, aggregation, analysis, and sharing are broad and hidden, making it harder than ever to constrain the flow of data about us. Cautioning that suffocating surveillance could lead to paralyzed dullness, Nissenbaum and Varnelis do not ask us to retreat from digital media but advance interventions like protest, policy changes, and re-design as possible counter-strategies.
Daniel Temkin | TRIANGULATION BLOG
Apr 4, ’12
2:29 PM
Daniel Temkin makes still and interactive pieces stemming from different forms of miscommunication, often built as uneasy collaborations with the computer. I’m featuring two of his projects which are related with glitches and errors produced by the use of basic softwares such as Photoshop. The first one is called Glitchometry, Daniel describes; each image begins as one or a few black squares or circles. They are sonified — imported into an audio editor. Sound effects are added to individual color channels, as if they were sound, transforming the image. Because the tool is used in an unconventional way, there is no immediate way to monitor the effect. The image manipulator has a sense of what each effect does, but no precise control over the result. It is a wrestling with the computer, the results of which are these images.
Rhizome | Artist Profile: Antoine Catala
Apr 4, ’12
2:27 PM
Your exhibition at 47 Canal, “I See Catastrophes Ahead,” takes the form of a rebus, in which each of the five pieces in the gallery represents a part of the titular sentence. As the press release notes, “Every digitized image, sound, video, smell, taste and object is associated with [key]words. In an internet search, typing a word opens the door to an infinite universe of possibilities.” The rebus is a centuries-old form of translating words into images, and yet you’re employing it here to reflect the impact of recent technology—the Internet search—on the way we conceive of language. Do you see a connection between the two? There’s something about a rebus that is curiously reflective of the way the Internet works: when you type the word “cat,” for instance, into Google, you get a whole list of unrelated suggested search terms. Was this something that you were thinking about specifically when you made this work?
I was specifically focusing on Google Image Searches. Google Image search makes connections between images and words. A rebus operates similarly. Like you say, searching for the word cat brings up a near endless flow of images of cats. The rebus reader operates the other way; he or she sees an image and has to attach a word to it, in the process sometimes making wrong associations. The rebus reader is a bit like the Internet algorithms, attaching words to images.
The Internet, at its inception, was silent and drab; now it’s an exciting place, with plenty of videos, sounds, and images. There is a tendency for the Internet to “flesh up,” to develop substance on top of the underlying text backbone. Now objects are thrown in the mix. With an Internet search one can cull and print (via 3D printing) objects.
So, via an Internet search, a word can conjure up many quasi-physical or physical incarnations, be it images, sounds, videos or now objects. I was specifically interested in the triad word – image – object in making the works for “I See Catastrophes Ahead”. Each piece in the show is an in-between stage, part image, part object, and part word.
C.R.E.A.M. curated by Lindsay Howard | Art Micro Patronage
Apr 3, ’12
6:04 PM
C.R.E.A.M. showcases the work of artists who are politically engaged in open source art & technology while using their creative practice to address issues related to the monetization of net-based work.
MUTANT SOUNDS: Prima Materia -Tail of the Tiger,LP,1977,Italy
Apr 3, ’12
5:12 PM
In 1977 an obscure Italian private label issued a record that sounded like it came from outer space. A long and dense trance-inducing drone of sustained notes, rich with overtones and harmonic embellishments, coming from a space so vast and unexplored that seemed almost of non-human, even electronic nature. Paradoxically, each and any molecule of that sound was produced using only the most original and archaic instrument, the human voice. The name of the group was Prima Materia (First Matter), a project that took shape in 1973 in San Diego, and the record – “The Tail of the Tiger” – was issued by the Ananda label, owned by Roberto Laneri, Alvin Curran and Giacinto Scelsi. The record soon disappeared and over the became almost a legend among collectors and experimental music lovers.
The musicians of the group Prima Materia individually researched and developed unusual vocal techniques (originally used in Tantric rituals in North India, Mongolia and Tibet), based upon the use of overtones coupled with a special state of inner concentration, which was the essential condition for both the emission and control of long-sustained and complex vocal sounds. Their capacity to sustain a note for what seems an eternity, and then continue to provide endless variations generates a continuous and sustained drone of sound, in which the overtones are clearly perceived.
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Rhizome | The Scanner at Saamlung
Apr 3, ’12
5:11 PM
I digress into my history with the scanner only to explain and help inform how I am using it in this current series of sculpture objects. For “The Untouchables” at Saamlung Gallery, I will be showing a series of prepared scanners. Each scanner lays open, displaying paintings made with clay. The paintings are tightly composed on top of the scanning glass. I used a type of clay called plastalina, a very vibrant, yet highly malleable and expressive material that shows all of my fingerprints and gestures. While the viewers of the exhibition will see these expressive compositions and textures framed by the “home office”greys and fading plastics of the various scanner beds, a whole other image can be viewed digitally from the scanner as a functional object. The scanner then becomes not only the artwork, but the means for producing the digital work. Specifically, the user of the sculpture can create a digital image that can be blown up quite large.
