Yen reviews Dancing Rhinoceri of Bangladesh, an interactive poem by net artist Millie Niss, looking at the interface and reader experience, but also at the text itself, and the complexities of its reading, and at the source of its creation through technology. The Dancing Rhinoceri of Bangladesh, she says, is more than just a poem. As with all electronic literature, it requires more than just literacy to access, understand and appreciate. It is a piece of art, which carries in itself, cultural, historical, political and technological implications and meanings.
Marc Garrett interviews Eugenio Tisselli about Sauti ya wakulima, "The voice of the farmers": A collaborative knowledge base created by farmers from the Chambezi region of the Bagamoyo District in Tanzania. By gathering audiovisual evidence of their practices they use smartphones to publish images and voice recordings on the Internet, documenting and sharing their daily practices.
Mark Hancock looks at Rob Myers’ Shareable Readymades, which combine Open Source culture with a new perspective on the idea of original and copyrighted artworks. As Hancock discovers, the result is a project that explores our consumerist ideas about owning art, alongside the way the Internet changes our relationship to production and sharing. Artworks are also found to be no longer constrained by time and space. Access to the raw data of the source file might be all that is needed to create them and a new version of art history.
Leila Nadir reviews the show Collect the WWWorld: The Artist as Archivist in the Internet Age which took place recently at 319 Scholes in Brooklyn. The artists in this exhibition are collectors and archivists who, having explored the digital wilderness, have done some weeding in order to plant a garden of cultivated, nurtured, looked-after data.
The third and last by Rob Myers, of a series of articles reviewing publications by the CACHe project, an archive of pioneering British computer art. Rob's first review was of the V&A's show and book "Digital Pioneers", the second was of Catherine Mason's "A Computer In The Art Room". Where "A Computer In The Art Room" concentrated on the history of art computing in British educational institutions up to 1980, "White Heat Cold Logic" gives voice to the individuals who made art using computers in that period more generally.
Elin Ahlberg reviews 'Face to facebook' by Italian artists Paolo Cirio and Alessandro Ludovico. It was the Final project of a series of three called 'Tha Hacking Monopolism Triology'. The 'Face to facebook' project was to steal 1 million facebook profiles and re-contextualize them on a custom made dating website (lovely-faces.com).
This text (part 1/4) by Ellie Harrison addresses the ethical implications of continuing to choose the career of artist in the twenty-first century. This text is one outcome of Elllie's recently completed Leverhulme Scholarship on the Master of Fine Art programme at Glasgow School of Art.
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