Yesterday i was in Amsterdam for the New Cultural Networks conference. The one day event, organized by the Sandberg Institute, aims to provide an opportunity to exchange new ideas and innovations in the area of media production.

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The conference took place in the super swanky Openbare Bibliotheek Amsterdam (public library). The outside is quite unassuming but the inside is amazing (images 1, 2 and 3). Designed by Dutch architect Jo Coenen, the building counts 7 floors, with a large terrasse, a theatre and a restaurant on top. The reading and study rooms are like terraces and are placed around large empty spaces.

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The talks were really good and i'm going to blog a couple of them. Starting with the presentation of Shu Lea Cheang, a multi-media artist working in the field of networked installation and performance, social interface and film production.

Some of her previous works engaged with sharing free wifi. In 2002, she was in Amsterdam with the performance Drive by Dining. It was the time when all those wifi technologies were happening and being discussed. They had wifi devices around the diner space and set up a crane to take pictures of the party and stream it on the web. It was an innocent time, since then the whole wifi technology has taken a much more commercial color.

Shu Lea is often engaged in collective network projects, setting up various platforms to take in artists which have different talents and skills in order to put up a project together.


Since 2003, the artist has been working on take2030, a project which presumes that by 2030 the Internet, the wireless, the GPS, everything will go down. How do you connect? By using DIY technology, free network to share with your neighbours.

Together with Ilze Black and Alexei Blinov, Chu Lea created porta-pack, a mobile network on the go. It includes a modified wifi network system, a webcam, a signal-generation device and a GPS tracking unit. Through this wireless transmission device, people are able to interact and communicate regardless of geographical boundaries and without obstructions. You might develop a different connection with the people around you. You used to discuss mostly with people living at the other side of the planet and with the portapack you get out in the street and meet your neighbours.

0aaatrannnm.jpgAnother project developed with a group of other artists (forming the Mumbai Streaming Attack collective) is TRAMJAM, a "multi-track-multi-driver tramjam session." The performance follows the routing and rushhour tram schedule of each of the city tramlines. Each sound artist chooses a tramline, designs and collects soundfiles that characterize that particular tram routing. The artists them join together on location and online to perform collective impression of the city limits, whose tramlines connectivity forms the city's transport mainframe.

The group aims to continue its tramjam rushhour performance in cities where urban tramlines still exist. The next one will take place this month in Tokyo (where ironically the tram lines are dead and will have to be reactivated for the project).

The artist is currently working on a performance which will take place during Transmediale in Berlin, next February. The Moving Forrest, aka The Castle, is a much more narrative experiment. The 12 hour long performance will involve updating the Macbeth tragedy and covering the whole area surrounding the Haus Der Kulturen der Welt --which is extremely controlled by the government, with free wifi nodes and have a whole insurgency happen.

Related: How i Got Fucked in Norway, Snowed in Swiss, Kissed in Paris and Driven Crazy by Babylove.

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I'm in Medellin for Pixelazo (workshop with Alejandro and a talk this afternoon.) I've always been totally immune to any fascination for the exotic. I just love Europe e basta. Until i arrived here. Colombia rulz! It is amazingly beautiful and crazy.

Art-wise, the place is not half-bad either.

Gabriel Zea, Andres Burbano, Camilo Martinez and Alejandro Duque are walking Derive-style the streets of Medellin with their BereBere project.


Inpired by the mimoSa project, BereBere is a mobile apparatus equipped with videos and audio sytems for streaming, sensors (CO2 emission, electrosmog, wireless networks, temperature, etc) to monitor the state of the city and GPS instruments to map these data. BereBere uses only open technologies (both software and hardware) and its members wander through the streets inviting passersby (especially those who might not have access to these technologies) to participate to the creation of contents but also to its discussion and diffusion.

They collect, archive and create visual and audio maps that represent an artistic and experimental portraits of the communities.

Image nicked here.

Related: The Public Broadcast Cart by Ricardo Miranda Zúñiga.

00aliberat.jpgJonah Brucker-Cohen has just released an OS Wifi Liberator Toolkit designed to liberate Pay-Per Use wireless networks and create a free, open node that anyone can connect to for Internet access.

"The project is presented as a challenge to existing corporate or "locked" private wireless nodes to encourage the proliferation of free networks and connectivity across the planet." Like the Wifi-Hog project, "the Wifi-Liberator examines the tensions between providers trying to profit from the increasingly minimal costs associated with setting up a public network and casual users who simply want to see the Internet transform into another "public utility" and become as ubiquitous and free as the air we breath. The project targets pay-per-use wireless networks as often found in airports, other public terminals, hotels, global-chain coffee shops, and other public waiting points."

An important feature is that Wifi Liberator only allows a person to connect to the Internet if they share their connection, thus stopping people from using the Liberator to "leech" the connection only for themselves.

Via coin-operated.

Related: Interview of Jonah Brucker-Cohen.

nordichi(4).jpgI've been writing about Lalya Gaye's work over and over again ever since i started to blog. She's one of those few people who seem to swim effortlessly in both the artistic and the purely scientific waters.

She's an engineer and PhD graduate working in multidisciplinary projects that search to explore new territories of personal expression and creativity enabled by ubiquitous computing. Her research focuses on mobile media for urban space and on computational repurposing of everyday objects. In 2002, she started working on various research projects at Future Applications Lab, Viktoria Institute in Göteborg, Sweden. But she still manages to find some time to develop smaller new media projects with friends and to get involved in the mobile music and New Interfaces for Musical Expression (NIME) communities.

Your biography says that you are an engineer working in "research projects exploring the convergence of art, technology, and design." Do you feel that your work is welcomed with the same interest in a technological context as in an artistic or design one?

The Viktoria Institute is an innovation-oriented research institute in applied IT that is closely related to the IT-University in Göteborg, Sweden (which is a collaboration between Göteborg University and Chalmers University of Technology). Viktoria consists of several groups with different research focus: telematics (IT and cars), IT for firemen, etc. The group I work in is called Future Applications Lab and was founded by Lars Erik Holmquist in 2002. It focuses mainly on ubicomp applications for everyday life, with a human-computer interaction perspective to it. Basically, we look at what new meanings new technologies can bring to people’s everyday life by developing prototypes for rich social and aesthetic interactions.

We are a multidisciplinary group with backgrounds in cognition psychology, design, engineering physics, language technology, physics, computer science etc and the projects we have worked on span across a variety of fields: ubiquitous computing, new interfaces for musical expression, robotics, information visualisation, mobile and locative media, interaction design. We all work on several projects at the same time, either with other group members or within collaborations with other research groups, artists or master students. What projects we are able to work on depend on available funding because the institute’s only financing comes from project funding, but our group leader seeks those that meet our research interests so that we get funding for what we want to research about. So we are quite free within a certain frame.

Right now the main themes we research on are mobile media, and robotic applications for everyday life. Marketing potential is not on top of our group’s list, we would rather prioritise relevant and interesting findings from a research perspective. However, it does not hurt if something we do has some commercial potentials. A couple of years ago for example, Johan Sanneblad made a computer graphics platform (Gapidraw) and an ad hoc networking platform (OpenTrek) both for handhelds that became a very successful company (Develant), besides enabling a series of projects we have worked on in the group. I have heard they have become a standard for mobile gaming on hand-helds.

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Sonic City

A couple of years ago, you developed a concept of music creation that has always made me dream: Sonic City. Where is that project now? are you still working on it? do you still believe in its relevance today?

Sonic City was my first project when I joined Viktoria in 2002. It was a collaboration among Ramia Mazé and Margot Jacobs at PLAY, Interactive Institute, and a very talented Swedish sound artist called Daniel Skoglund who used to be in the group 8Tunnel2. We ended the project in 2004 after having completed a final user study, so I am not working on it anymore. However, most of the projects I have worked on since then take further some of the concepts we explored in Sonic City: embodied uses of the everyday (everyday activities such as walking, everyday environments such as the street…) as a resource for aesthetic practices (music, photography, etc).

Although this project is now quite old, I think that what it touched upon is still very relevant today. The same way a lot of projects you write about in your blog do, it looked at how ubicomp can enrich our everyday life, help us appropriate public space and provide us with new means of being creative. And there is a growing community of people working with mobile music technology nowadays, which I am very excited about!

What are the new frontiers of mobile music? Do you think that the industry has understood how to fully exploit its possibilities?

It is hard to say what big mobilephone companies have in mind because they are very secret. They could be developing loads of new mobile music applications as we speak, I have no idea. But on the art-design-research side and in smaller companies such as SSEYO, there is definitely a lot going on. I have been organising a series of annual workshops about mobile music technology (together with Frauke Behrendt from Univ. Sussex, Lars Erik Holmquist, Atau Tanaka and Drew Hemment from Futuresonic) to get people who are active in this field to meet, discuss what they do and learn from each other. The workshops are getting bigger each year! By the way, the next one will be in Amsterdam this spring at STEIM and De Waag Society.

Mobile music workshop

What I find interesting with mobile music is that it democratises the use of music technology and takes it to the streets. The field develops very quickly so it can take various directions at the moment: mobile music is by nature multi-disciplinary, at the crossing between interactive music, mobile computing, locative media and consumer audio, so it benefits from all the current developments in all of these fields. Therefore it is since long ago going way beyond ringtones and mp3 players. More towards ad hoc collective actions such as networked music making and sharing for example. These developments do not seem to reflect enough on the products available on the market so far but hopefully in the near future it will.

You often seem to collaborate with people from various backgrounds: how does the collaboration happen? Do you understand each other right from the start? are there periods of adjustement?

0lashoe1.jpgIndeed, I just love collaborating with people! I find it much more fun and enriching than working by myself and also depending on what you work on you might not have all the necessary skills to complete a project all by yourself. Yes, I especially enjoy working with people from different backgrounds, you really learn a lot and the projects get richer that way, more nuanced.

Usually I work with colleagues from Viktoria or from other research groups, or with people I met at festivals/conferences with similar interests in art and technology. Sometimes simply with friends when we have idea we want to explore together. There is no standard way in which the projects happen, it depends: one might have a project idea and search for the right people to contribute to it, sometimes an idea just pops up from casual discussions, sometimes one works in an assigned project with people that have been assigned as well. But in most cases, you need funding to be able to fulfil the projects, except for projects with friends such as Tap-n-Bass where we typically have no budget whatsoever.

But it is a hard process as well. In the beginning, it is a matter of understanding what background people come from and use a common language. The word “design? for example might mean different things depending on if you are an computer engineer or a product designer for example. People are not necessarily interested in developing the same things in a project either but it is all good, you just need to accept it and embrace it. It is all a learning process, and that is what makes it fun.

What can an artistic approach bring to the development of ubicomp technologies?

I guess it could be perspectives on the usefulness and meaning of the technology? Art questions common assumptions of what technology is for and what it achieves. Ubicomp is meant to become a pervasive presence in people’s lives and with this come issues of personal integrity, democracy, etc. Therefore it is important to question what form and impact this presence could have. Not everything has to be about work or making people safer, more productive, more socially engaged either… But in my research I am more interested in the opposite actually, what ubicomp can bring to the arts.

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Track and Tejp

Your finishing (?have finished?) your PHD this year. can you talk about what it is about? do you already have plans for the post-PHD life?

Well, finishing this year was the initial plan but it is taking more time than expected so I will probably be done by spring 2007. I am searching for post-docs or researcher positions for after my hopefully very long holidays, but I have not seriously started looking. I would like to continue collaborating with people with various backgrounds in art/tech/hci/design projects. So if you are reading this and have a position available somewhere: call me!

Whatever happens, I will continue to be involved in the NIME and mobile music communities. There is also a book coming up about mobile music, authored by myself and a few others.

How would you describe the situation on the Swedish scene for art forms that use technology as a medium?

I love it. Initially, I was going to be in Sweden for about a year before moving to Paris, now I have been here for almost 7. I just cannot get enough of it.

It is a mixture of very high-tech mobile projects, Scandinavian interaction design, street-art interventions and DIY cut-n-paste works with hacked electronics. There is a number of small local scenes in different cities with a lot of very good pieces in world class that should definitely get more exposure (and funding). In Göteborg where I live, there is an excellent electronic music scene with local artists making music with electrified vegetables or cracked tape-recorders, and booking agencies such as Koloni, sync24 and iDEAL who bring us international underground acts. Add to this high-quality interaction design such as the interaction design collegium at Chalmers for example, a vibrant local culture scene (TSiG, Dance & Theatre festival, Big Love, Röda Sten, etc) and a growing network of international artists staying a couple of years in Göteborg to work or study. There is for instance a Master programme in Art & Technology at the IT-University that attracts super talented art students from the whole world every year. At the risk of sounding like a tourist information office, I would say that there is a good momentum going on here that makes the city very exciting in spite of its very small size. Actually the small size can be a good thing sometimes because it becomes easier for people to come in contact with each other and work together. There is a lot going on in Malmö, Umeå and Stockholm as well. A new research centre called Mobile Life will open in Stockholm next year for example. Stockholm has a dorkbot as well, and a long tradition of electronic music (Fylkingen and EMS), music technology research (TMH) and digital arts.

Can you recommend us some Swedish artists that you think should get more attention from the public?

Absolutely! There are too many great Sweden-based artists, designers and researchers to name them all, but I could recommend Alex Berman aka Nim, Daniel Skoglund, New Beginnings, mixnbrew, Richard Widerberg (now based in Helsinki). Also in interaction design and research: my colleagues at FAL of course, Hanna Landin and Morten Fjeld from Chalmers, Liselott Brunnberg at the Interactive Institute and Kia Höök at SICS. I would like to name a few former Art&Technology students, even though they are not all Swedish and not all of them still based in Sweden: Sue Huang and Brian House (aka knifeandfork), David McCallum, Dylan Tinlun Chan, Alberto Frigo, etc. So many people!!!

That's it and thanks again Lalya!

A Californian inventor has patented a new breed of throwable games controllers.

Each "tossable peripheral" resembles a normal throwable object (whatever this might mean!), like a beach ball, a football or a Frisbee. But they also connect via WiFi to a games console and contain an accelerometer capable of detecting speed and impact, an altimeter, a timer and a GPS receiver.

The console can then orchestrate a game of catch, awarding points for a good catch or deducting them if the peripheral is dropped hard on the ground. Or perhaps the challenge could be to throw the object furthest, highest or fastest, with the connected computer keeping track of different competitors' scores. The peripheral can also emit a bleeps when it has been still for too long, to help the owner locate it in the long grass.

Via new scientist.

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Maybe the guy should get in touch with Haiyan Zhang who designed the Control Freaks accessories that attach to any object or living thing. They can sense the movement and sound of their host and connect that feedback to a local gaming platform, translating the manipulation of the host into game play commands on the connected game platform.

0jonahbc.jpgI've been following Jonah Brucker-Cohen interviews of artists on Gizmodo for months. As he's one of the most talented artists of his generation, i thought it was high time to fire a few questions at him. Jonah is also a researcher, Ph.D. candidate, and HEA MMRP fellow in the Disruptive Design Team of the Networking and Telecommunications Research Group, Trinity College Dublin. He was a Research Fellow in the Human Connectedness Group at Media Lab Europe. He received a Masters from the Interactive Telecommunications Program at NYU and was an Interval Research Fellow there creating interactive networked projects. His research focuses on the theme of "Deconstructing Networks" which includes projects that attempt to critically challenge and subvert accepted perceptions of network interaction and experience (complete bio.)

0altering.jpgJonah is now spending a few days in Montreal to prepare a solo show of 6 of his projects at OBORO which opens at 5 pm on September 16th. The link to the Montreal show is actively connected to his Alerting Infrastructure! project (image on the right) which will be set up inside the gallery until October 21. This physical hit counter translates visits to the webpage into damage of the physical gallery space.

I seemed to bump into your installations, performances and talks all over Europe while you were in Dublin. What have you been doing since you left Europe?

I left Ireland in January 2005 and moved back to the US (NYC). Since I left I've still been active giving talks and workshops, in fact I've given twenty lectures about my work in 4 countries and also led nine workshops including three this summer and a few more scheduled for the fall. All of the workshops are in collaboration with Katherine Moriwaki. We have been leading our Scrapyard Challenge workshops at venues around the world since 2003. Since I moved back to the US, I have also shown work in 7 exhibitions in 3 countries and am gearing up for a solo show of my work in Montreal which opens Sept 16th. So I've been keeping busy, but it might seem like I have less of a European presence since I'm not living in Ireland anymore and haven't gone to any of the major European media arts festivals since I moved home.

Is the US a more fertile ground than Europe for digital/interactive/new media art? Which differences did you perceive between both continents as regards the exhibition, financing, support and interest of your works and the one of fellow artists?

The main difference between European countries (and most other countries) and the US when it comes to art in general, is that in the US there is no public funding for art exhibitions, festivals, or even commissions. All of the art funding here comes from private institutions such as universities, foundations, or independent research organizations that are usually backed with corporate or philanthropic funds. As a result, there are less large-scale digital art projects than typically occur in other countries, however recently with events like the Year-01 festival in San Jose, South By Southwest, and the fluctuating media arts presence at the annual SIGGRAPH conference, the US is beginning to support larger projects that might eventually have the potential to change the federal government's stance on supporting these types of endeavors. Institutions such as galleries or universities or other privately funded art and technology centers have supported most of the projects that I have participated in within the US.

Your work "critically examines and questions the proliferation of networked media." What's wrong with the proliferation of networked media?

My work examines the proliferation of networked media and experience in popular culture. I am particularly interested in how networks (such as the Internet and wireless networks) are represented and used in everyday life. My projects focus on this use and either challenge it by altering accepted systems of use or by creating new relationships to the ways in which we perceive networks through custom designed input and output devices along with heightening metaphoric relationships. There is nothing "wrong" with networked media per say, I am just trying to highlight the nuances and catch- phrases of networked culture by making its processes and relationships less transparent, and more blatantly obvious.

0crankoko.jpgFor example, my Crank The Web project is a physical manifestation of something usually transparent (the download speed of a typical network connection), which is an attempt to materialize this seeming "invisible" and vital component of network experience. Also, my BumpList project examines the governed rules and behaviors of online systems and how by changing these methodologies we can learn more about why they exist in the first place.

Let's talk about one of the works you will be showing in Montreal at the Oboro Gallery. How does PoliceState work exactly? Do people intuitively understand what's going on when they see the installation?

PoliceState is a Carnivore client. Carnivore was the third incarnation of surveillance software such as Etherpeek and Omnivore created by the FBI to snoop on data such as email, urls, Instant Messages, etc. sent through Commercial ISPs. PoliceState connects to the open-source version of Carnivore (which exists as a server and packet sniffer) developed by the NYC-based Radical Software Group and attempts to reverse the surveillance role of law enforcement into a subservient one for the data being gathered. The client consists of a fleet of 20 radio controlled police vehicles that are all simultaneously controlled by data coming into the main client. The project looks for packet information relating to international and domestic US terrorism. Once found, the text is then assigned to an active California state police radio code, translated to its binary equivalent, and sent to the array of police cars as a movement sequence. In effect, the data being "snooped" by the authorities becomes the same data used to control the police vehicles. Thus the police become puppets of their own surveillance. This signifies a reversal of the control of information appropriated by police by using the same information they gather to apprehend criminals but instead, uses it to control the police themselves. In the gallery, the PoliceState police cars are setup on a raised platform with a projection of the screen interface so that visitors can see the data being parsed in real-time through the network. For this particular installation I am using data gathered at local and International wireless hotspots as well as the traffic moving through the gallery's local area network (LAN).

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Whether your installations give a tangible presence to web-based elements or translate the physicality of the real world into the virtual, they always have a playful and humourous component. How important is humour in your work? How does it help to "get your message out in the world"?

Humor is a key ingredient in a lot of my projects. It is usually the best way to overcome any preconceptions of how to interact with technology and One of my projects in particular, IPO Madness examines the humorous side of the networked economy by poking fun at the surge of IPO destined companies that came out of the "Dot-Com" Bubble. By merging a slot machine with the act of generating website addresses, IPO Madness comments on the "E"conomy by combining the themes of "wasted consumption" and "getting rich quick" to annunciate this seemingly thriving condition among the Internet economy. This project is one of my only projects that really speaks to a specific era of Internet history, where anyone could receive venture capital funding for the most simplistic and banal dot-com company idea. In the current web 2.0 world, this is less relevant, but there is still a latent hope amongst those getting into the web-based technology services field that their company will either make millions by being bought by Google or Yahoo.

Another example of humor in my work is Crank The Web and BumpList: An Email Community for the Determined!. "Crank The Web" examines the transparent or invisible nature of bandwidth speeds and breaks down the costs of availability. The project consists of a metal hand crank that allows one to manually turn the crank to download a website. It adds a very physical component to the increasingly automated world of data retrieval and web-based interaction. Similarly, "BumpList: An Email Community for the Determined" is a typical emailing list with the constraint of only allowing 6 people to join the list at any given time. When a new person joins, they "bump" off the first person in the queue thus creating a revolving door type subscription policy for a widely used system of online interaction. The effect of changing one rule had a profound effect on the way people interacted with the software and caused them to react in very irrational ways as well as employing ingenious methods of trying to stay on the list. Overall, the result was very humorous since people had to invent really interesting ways of staying on the list when all else failed.

How do you finance your art works? Do you rely on grants? Commissions? Side jobs?

Some of my projects have been awarded grants such as SimpleTEXT from Low-Fi, an arts organization in the UK and Umbrella_net (in collaboration with Katherine Moriwaki) which won the Araneum Prize in Spain, and PoliceState was initially funded by the Dutch Electronics Arts Festival (DEAF), but most of them have come out of research projects that I have done while either an Interval Research Fellow at ITP (NYU) or a Research Fellow at Media Lab Europe in Dublin.


What were you trying to achieve with Wifi-Hog? What do you answer to people who accuse you of having created a dangerous system?

The story behind Wifi-Hog is very complex, in fact there's a link here to a longer article I wrote about the project that explains its intentions and the reaction it received by local community groups. Basically, the project started when I began to notice that there was a lack of an acceptable use policy surrounding the use of wireless or "wi-fi" networks in urban centers. In particular, there was an article in Slashdot from 2002 about a battle over public wireless space between a community wireless group (Portland Personal Telco) that had put up a free network in a public square and a Starbucks store that put up a "pay-per-use" network in the same vicinity. The end result was that the free community group network had to shut down because their signal was being drowned out by the stronger, Starbucks network. This got me thinking about how public space was beginning to be delineated by broadcast strength with the advent of Wi-Fi networks. Wi-Fi Hog exists as a tactical tool to liberate these pay-per use networks and hopefully let the free ones remain. Ultimately the project attempts to subvert claims of ownership and regulation over free spectrum, by allowing a means of control to come from a third-party.

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SimpleTEXTwith Tim Redfern and Duncan Murphy

Do you develop your art pieces yourself from A to Z or do you rely on the cooperation with programmers or other technicians? How much doescooperating change your view on your initial idea?

In most cases I have developed projects on my own, but occasionally (such as in the case of BumpList, Umbrella_net, SimpleTEXT and the Scrapyard Challenge Workshops) I have worked with collaborators including other artists as well as some programmers and electrical engineers. I find that collaboration ultimately strengthens any project to the point where you begin to realize new angles and approaches with the work that you would have never discovered if you were working alone. This is a very important quality that has benefited some of my projects to no end. In the case of BumpList, my collaboration with Mike Bennett improved the project immensely because we worked together on finding interesting ways of improving the system and analyzing the resulting data gathered from its use. The SimpleTEXT collaboration with Tim Redfern and Duncan Murphy allowed the project to gain a lot more depth in both the musical output generated by incoming messages and the visuals created during the performance. Also, the Scrapyard Challenge Workshops (ranging in theme from MIDI Scrapyard Challenge to DIY Urban Challenge, to Wearable Challenge) that Katherine Moriwaki and I run together benefit immensely from collaboration because we both bring complementary and unique skill sets to the workshops that ultimately results in more interesting output by the participants.

Is there any researcher or artist whose work you find particularlyinspiring? Why?

In the eclectic world of media art, there are many artists that I admire and find truly inspiring. In particular, two artists come to mind that examine and question the fundamental relationships between technology and human interaction and experience. Danish artist Mogens Jacobsen's Crime Scene: An Installation For Two Computers is a really interesting take on the legalities of file sharing across the Internet. The project consists of two computers that are continuously swapping copyrighted material back and forth in a closed network. The whole installation is situated behind some yellow Police tape that says "Crime Scene: Do Not Cross". These types of projects that directly address the medium in which they exist are really interesting to me because of both their simplicity as well as the fact that they question the fundamental culture of networks. I also admire Norman White's Helpless Robot, a robot with no moving parts that simply calls out for people in its vicinity to pick it up and move it. Helpless Robot adds humor and humility to something typically thought of as "high tech" and advanced such as a robot. So basically, my favorite art projects consist of those that challenge traditional relationships to specific technologies or break down and subvert typical experiences with everyday systems or networks.

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Crime Scene and Helpless Robot

And now the question that traditionally ends your interviews of other artists for Gizmodo: What projects are you currently working on? How are they similar or different than your past projects?

I'm currently working on finishing my PHD, which focuses on methods of "Deconstructing Networks" by challenging existing frameworks of networked interaction and experience. I've been working on a few new projects that exist as extensions to other projects that I have already done. One project examines the proliferation of wireless networks in urban space and like my Wifi-Hog piece, also attempts to create a rift in the clash over public vs. private or pay-per-use wireless networks. Another project I'm working on is the next iteration of my BumpList emailing list project. The new version attempts to interject even more rule sets and constraints into these ubiquitous online communities by allowing for more control to come from the users themselves. In particular, one component of the system employs adaptive rules that change based on user behavior and involvement. Overall, I'm remaining within the same theme of networks but looking more closely at how and why these systems were developed and how changing them even slightly can often produce unique and varied effects.

The exhibition Jonah Brucker-Cohen - Deconstructing Networks opens at the Oboro Gallery (4001, rue Berri, local 301) in Montreal, on Saturday, September 16, 2006 at 5:00 p.m.

There will be a performance of SimpleTEXT with Tim Redfern">Tim Redfern on September 16, at 3:00 p.m. Jonah Brucker-Cohen will also be giving a talk about his projects on the 11th at Concordia at 6:30pm.

projects and work,
Scrapyard Challenge Workshops.

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