There will be a video installation in Curtin Hall 181, showing the following works on a loop:
Incorporating Guilt Within an Autonomous Robot
Steve Wetzel (Peck School of the Arts, UWM)
Part appropriated video and part observational documentary, Incorporating Guilt Within an Autonomous Robot explores the performance of Americanism and violence. Framed by recent national developments in war technology and the mad plans and collaborations of our scientific and military communities, a pageantry of faith, power and absurdity slowly unfolds in a small, rural Midwestern town.
Dusty Stacks of Mom: The Poster Project
Jodie Mack (Film and Media Studies, Dartmouth College)
Interweaving the forms of personal filmmaking, abstract animation, and the rock opera, this animated musical documentary examines the rise and fall of my mother’s nearly-defunct poster and postcard wholesale business; the changing role of physical objects and virtual data in commerce; and the division (or lack of) between abstraction in fine art and psychedelic kitsch. Using alternate lyrics as voice over narration, the piece adopts the musical structure of Pink Floyd’s Dark Side of the Moon (based on the album’s relationship to concert visuals, and high/low art + cult ambiguity).
Jochen Hartmann (Columbia University, School of Architecture)
The PABT 2060 project examines a possible future for the Port Authority Bus Terminal as well as the NYC metropolitan region in the year 2060 through the means of architecture fiction. The project envisions the terminal as part controlled checkpoint, part pharmaceutical testing ground and as part taylorist machine that functions to ensure worker happiness. The project was completed in 2012 during Kazys Varnelis’ “Terminal Condition” studio at Columbia University’s graduate school of architecture.
Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound
Andrew Norman Wilson (artist)
The video starts by asking why the “no video” signal is blue. At first it presents a futile attempt to deconstruct the meaning of the color blue, then reaches beyond standard rhetorical and semiotic models through the philosophy of Brian Massumi, William James, and Ludwig Wittgenstein, interactions with Sony customer support, and the compositions of Walter de Maria and Alice DeeJay.
Art Installations and Interventions
There will also be installations and interventions in Curtin Hall 175:
Channel TWo Episodes 1.4.2
Adam Trowbridge and Jessica Westbrook (Channel TWo)
Channel TWo (CH2) Episodes 1.4.2 is a brand new, large-scale, multi-level, projected, virtual environment designed and developed for trespassing. CH2 Episodes 1.4.2 intersects levels, landﬁll, fortune, and mixed.up(realities). It involves the experience of a large,rolling landscape with dirt roads, uncapped landﬁlls, and concrete portals. Gallery visitors use a game controller to navigate the virtual spaces via walking and jumping. CH2‘s current iconographic array [Seven, Soda, Cherries, Coins, Bones, Bomb] is embedded again and again throughout the landscape.
comment:// Driving us around the area, up hills and out onto the flat plains supported by our own waste, the site engineer had a hard time believing we found the Pheasant Run Landfill to be beautiful, complex and a completely contemporary collaborative landscape.
Adam Trowbridge and Jessica Westbrook (Channel TWo)
t41nt3d [read tainted] love parts, friendly care packages, inventory Win32.Eva by Benny, (c) 1999. Hello stupid user, i’m so sorry, but I have to interrupt your work,’cause I hate this shitty program. Click OK to continue. Win32.Eva is simple appender, infects one EXE file by changing pointer at 3ch in the ;MZ header, which points to new exe. After infection, MZ_lfanew pointer will be; pointing to the viruses new PE header. So, if u will execute infected program under ;Win9X, WinNT or under Win3.1x with Win32s subsystem, program will start at the ;new location. After virus will be done with his work executes program again with changed MZ_lfanew pointer, that will be pointing to the original PE header.
We were inspired by Benny’s gift to Eva: “Then it happened. I fell in the love with some nice girl. And becoz she didn’t know it and it happened on Friday, start of weekend, I didn’t know, what I should that dead weekend do. I decided it would be better to code something. By those three days, I coded, commented and debugged my first (Win32) virus.”
Lucas Canino (photographer)
In very real ways, Google has become the world’s most powerful cartographer, vetting and adding thousands of cross-indexed “Places” to its platforms each day. Using Google’s own Streetview software, this work is an exploration of a Google Pin, the Center for 21st Century Studies at UWM (CID: 3359620257008151955). Walking its hallway in a self-guided tour that can never stray, we will find it to be a shared Place, where comfortably wide spaces, such as those between the end user and the factory, the production of data and then the wattage to consumes, converge. Poking through the never quite perfect seams of its stitched panoramas, and embedded in the layers of HDR images used to replicate the capacity of the human eye, we also glimpse moments of defiance against representation, a refusal to be digitized cleanly into a visual Google world free of politics, faces, and rain.
Henry Warwick (School of Media, Ryerson University)
DATAFIELD is a work in technology. It is similar to the PirateBox concept by David Darts, but differs in important ways, as this is not a box of piracy. This is a field of sharing. This installation, as an electromagnetic field, operates as a field of possibilities. It invites, indeed, requires participation to exist – otherwise, it’s just another electromagnetic field. To participate, the user must have a device that can access a WIFI router and mount a drive. How to locate the open WIFI connection DATAFIELD and access to the DATAFIELD drive will be provided with explicit instructions in the Conference space. If for some reason the WIFI stops working, Ethernet cables will be provided, as DATAFIELD is *not* connected to the internet. Within DATAFIELD, you can share files with others. The more people share, the more they gain from involving themselves with this piece and with others. While DATAFIELD responds to enthusiasm, as greater involvement creates a richer dataset, the WIFI router has a limit of ten users at a time. Operating as a Temporary Autonomous Field, this window will only be open the duration of this exhibit. Again, the DATAFIELD router has *no* access to the internet — this is a strictly offline operation, a voluntary *post-internet community*. This is for you, here, now. Remember, sharing is caring.