The urban screen as a form typically fluctuates, a bit uneasily, between two poles: Not purely commercial and rarely purely cultural, a common tactic of the urban screen is to deliver culture in interstitial spaces or timeslots, for example showing video or media art in the last minute of each hour or working with public transit authorities to show animation or experimental video on the television screens in trains or subways….In response to these complex and multivalent conditions, an international network of artists, curators and theorists has emerged for the purpose of discussing and examining the role of the urban screen and to creating discourse among “artists, curators, cultural managers, architects, government institutions, screen operators as well as theoreticians” so as to rethink “the relationship between architecture and public space in the digital age” and to consider the implications of ongoing tensions between commercial and artistic concerns as well as the restrictions that arise from questions of ownership and control in relation to the public context. Whether through the cultural bureaucracy of a municipality or a multi-national corporation such as Clear Channel, screens are regulated, and ultimately cause an examination of what is and is not public.
For us, the networked, global form of the public screen manifestly raises questions about simultaneity, relationships between public and private, issues of centralization and control, as well as causing an examination of the ways in which cultural and commercial spheres intersect – all issues that pierce through and overlay the theme of “electric speed”.
This project might be characterized as an invitation to the six artists – Melissa Mongiat and Mouna Andraos, Jeremy Bailey, Jillian Mcdonald, Jon Sasaki, and Will Gill – to test the formal qualities of the public screen as a medium, because on some level the urban screen implicitly suggests an investigation of the contemporary media environment itself.
-
Last.FM- Was (Not Was) – Tell Me That I'm Dreaming
- Was (Not Was) – Out Come The Freaks
- Vibracathedral Orchestra – Magnetic Burn
- Vibracathedral Orchestra – The Silent Socket
- Vibracathedral Orchestra – Your Head Shone Like a Stone
- Tim Hecker – Studio Suicide, 1980
- Tim Hecker – Analog Paralysis, 1978
- Tim Hecker – Hatred of Music II
- Tim Hecker – Hatred of Music II
- Tim Hecker – Hatred of Music I
-
Links
- (the teeming void)
- Art Fag City
- Artforum
- Audio Visual Arts (AVA)
- BLDGBLOG
- c60 Radio
- Cabinet Magazine
- Collect the WWWorld
- collectionof:
- Computers Club
- Confessions of an Aca-Fan
- Contemporary Art Daily
- CRUMB
- CTheory.net
- Curating.info
- David Rager
- Diamond Variations
- DIS Magazine
- DISPATCH
- doubleunderscore.net
- dump.fm
- e-flux
- East Village Radio
- Electronic Arts Intermix
- F.A.T. Lab
- Foxy Digitalis
- Free Music Archive
- Frieze
- Hyperallergic
- i heart photograph
- Ian Bogost
- Issue Project Room
- Light Industry
- Machinology
- MAP
- Mediateletipos.net
- Mutant Sounds
- net.art GIANT FUNNEL
- Networked_Music_Review
- Networked_Performance
- Obsolete Units
- OKFocus
- PAINTED,ETC.
- Post Internet
- Rhizome
- Root Blog
- Serial Consign
- Sven Lütticken
- Techgnosis
- the original soundtrack
- The Wire
- Tomorrow Museum
- TRIANGULATION BLOG
- Triple Canopy
- Vague Terrain
- varnelis.net
- VVORK
- we make money not art
- WFMU's Beware of the Blog
- Words in Space
- Zum


















