“XYM is a web-based project bringing you the longest short-term temporary and transient yet constant database of possibilities to download each individual Portable Data Format (.pdf) Artists Publication. Presenting a wide range of artists with a multi-disciplinary content, each issue is specifically created for the project, where one artist becomes the author and editor of a history making free-downloadable pdf file with a rapidly nearing best before date and incubation as its’ future.
Activated on its’ moment of release on www.xym.no, individually varying but at the same time permanent countdown periods are programmed to each publication with innumerable possibilities between one second and infinity. Within the given format, not exceeding the desktop-printable A4 and a download friendly 25 MB, a self-generating arts periodical creates a launching base for a diverse number of artistic projects, literally functioning between the margins of your computer screen and the edges of your desk.”
“I always wondered what kind of sound would be heard whilst on its journey when you either send or receive an e-mail or transfer data across a Network. The idea first presented itself when an IT friend of mine was chatting about his workplace and that I should pop along one day and record some of the sounds . Not wanting to let the opportunity pass me by, I spend a day, armed with a number of recording tools sitting in an enormous network server room. My initial thought was that of complete shock! I couldn’t quite get over how noisy the space was, I foolishly always imagined that it was going to be really very quiet, with just the discreet sound of a small fan and the occasional bleep from time to time. The noise was mainly due to the number the cooling fans required. So never really wanting to capture the sounds of cooling fans, I would focus on the light sources from any LED light by using a number of different photocells and by using a specially constructed audio/ network cable that allowed me to connect to both the server and my laptop at the same time, where I wrote a MSP patch that recorded to one soundcard when data was being Sent, and to another soundcard when the data was being Received. This method enabled me to kill two birds with one stone and allowed me the option for working with either sound source whilst the data was being transmitted. The final piece is comprised from 16 different servers, and from 1200 different ports, collecting close to 16,000 sounds . The first section of the piece are the sounds heard when the data was being ‘Sent’ and the second half of the piece is the perceived sound of the data being ‘Received’.”
The Changing Face of Letterpress
Well Gallery, London College of Communication
Elephant & Castle
05-11 March 2009
“The Changing Face of Letterpress is an exhibition of staff and student work from the London College of Communication, seeking to challenge the boundaries of Letterpress within the current design climate whilst drawing from the rich printing history of the college. The exhibition explores the changing role of Letterpress within design education, from a typographical teaching tool to a medium that is igniting process-driven work from students within the School of Graphic Design.”
“One of my favorite projects by architect Winy Mass is this grass covered overpass, which seems to suggest, in contrast to the all is lost back to nature attitude, that it’s time, not to smash our technological civilization and go back to the land, but merely to pave over our current industrial wasteland with the very nature we destroyed in its service.”
I want this in my house. Check out the website for more images from the Sol LeWitt: A Wall Drawing Retrospective. A collaboration between Yale University Art Gallery, MASS MoCA, and the Williams College Museum of Art.
“Wall Drawing 51
All architectural points connected by straight lines.
Blue snap lines
LeWitt Collection, Chester, Connecticut
Sperone Gallery, Turin, Italy and Museo di Torino, Turin, Italy
First Drawn By
P. Giacchi, A. Giamasco, G. Mosca”
“Wall Drawing 51 was first installed in 1970 in Turin at both the Museo di Torino and the Sperone Gallery. Although on display simultaneously, the site-specific nature of this drawing means that each installation is a unique version of the work. The content of the work rests entirely on the pre-existing space and was an indication of Sol LeWitt’s interest in more directly engaging the architectural context of his work.
LeWitt’s instructions for Wall Drawing 51 dictate “All architectural points connected by straight lines.” Using the simplest and most technically precise means available, Wall Drawing 51 comprises hundreds of blue lines of varying length stretching from one architectural detail to another, including door frames, columns, fire alarms, etc. Employing a chalk snap line, a contractor’s tool that is used to create straight lines on flat surfaces, this drawing focuses the viewer’s attention on the architecture of the space. Each corner on the wall is connected to any and all surrounding points with a straight chalk line. These lines make a complex web of marks that move the eye back and forth across the wall, highlighting, for instance an electrical socket’s relationship to a door frame, an air duct’s relationship to an outlet.”
“A web domain is a unique piece, we pay for it so we make sure that it stays unique. Nobody can actually reproduce it and everybody can look at it. It is exactly as an art piece, and this one especially, this is a masterpiece.”
“Inspired by an encounter with a snow covered park bench; the experience of disturbing the surface, leavings ones mark or discovering the trace of a previous presence. The Snowbench uses visco-elastic memory foam and diaphragm valves to retain the imprint of the user, documenting the physical interaction.
The bench becomes an icon of the object and situation that inspired it, evoking memories of an experience that contrasts with the present environment and context.”
“Six Students from Design Products, Industrial Design Engineering and Interaction Design at the Royal College of Art designed a landscape of concept furniture derived from the statue-like forms of people sitting, standing or leaning against walls engaged in playing the PlayStation Portable (PSP). Visitors to the exhibition are able to enter these forms and play on the console while exposed to an audio installation echoing player activity.
The cocoon-like nature of the furniture is related to the experience of playing games on the PSP. Initial inspiration came from observing group play at a barbecue: when still light in the early evening, a group of players put their coats over their heads to create shade and see the PSP’s screen better. Despite not being able to see each other at all, they continued to happily taunt, insult and otherwise interact with each other as is the norm throughout the course of a game. Later on, the students observed people huddled together during play, adopting statue-like poses and postures – some sitting, some standing, some leaning – largely unaware of the party going on around them.
This everyday re-appropriation and simple, utilitarian acts on the part of the players became useful metaphors for what the students found most interesting about the PSP, as well as other devices like it: that they are simultaneously public and private objects, that they encourage shared experience but require a degree of isolation and immersion, and that proximity is as much a factor as mobility. We aimed to question and address the immateriality and relatively new language of use of these devices. What impact will they have on future patterns of living?”