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Net Works

Net Works offers an inside look into the process of successfully developing thoughtful, innovative digital media. In many practice-based art texts and classrooms, technology is divorced from the socio-political concerns of those using it. Although there are many resources for media theorists, practice-based students sometimes find it difficult to engage with a text that fails to relate theoretical concerns to the act of creating. Net Works strives to fill that gap. Using websites as case studies, each chapter introduces a different style of web project—from formalist play to social activism to data visualization—and then includes the artists’ or entrepreneurs’ reflections on the particular challenges and outcomes of developing that web project. Scholarly introductions to each section apply a theoretical frame for the projects. Combining practical skills for web authoring with critical perspectives on the web, Net Works is ideal for courses in new media design, art, communication, critical studies, media and technology, or popular digital/internet culture.

xtine burrough is a media artist, educator, and co-author of Digital Foundations. She believes art shapes social experiences by mediating consumer culture and envisioning rebellious practices. As an educator at California State University, Fullerton, she bridges the gaps between art and design histories, theories, and practices. Her website is: www. missconceptions.net.

http://www.missconceptions.net
http://www.missconceptions.net
Net Works Case studies iN Web art aNd desigN

Edited by xtine burrough

First published 2012 by Routledge 711 Third Avenue, New York, NY 10017

Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2012 Taylor & Francis

The right of the editor to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging in Publication Data Net works : case studies in Web art and design / edited by xtine burrough. – 1st ed. p. cm.

Includes bibliographical references and index. 1. Art and the Internet. 2. Web sites–Case studies. I. Burrough, Xtine. II. Title: Case studies in Web art and design. NX180.I57N47 2011 776–dc23

2011022626

ISBN: 978-0-415-88221-7 (hbk) ISBN: 978-0-415-88222-4 (pbk) ISBN: 978-0-203-84794-7 (ebk)

Typeset in Garamond by Wearset Ltd, Boldon, Tyne and Wear

Printed and bound in the United States of America by Walsworth Publishing Company, Marceline, MO on acid- free paper.

One wedding + one manuscript: for Paul Martin Lester, my December groom, whom I married just two weeks before sending this manuscript to the publisher. Thank you, always, for your support.

vii

CoNteNts

List of Figures x Acknowledgments xiii List of Contributors xiv

Introduction to Net Works 1 X T I N e B U R R O U G H

PART I Formalism and Conceptual Art 3

Formalism and Conceptual Art, introduction 3 e D W A R D A . S H A N K e N

1 Color Field Paintings (Browser) 7 M I C H A e L D e M e R S

2 YouTube as a Subject 16 C O N S T A N T D U L L A A R T

PART II Collections and Communities 25

Virtual Communities: An Interview with Howard Rheingold 25 X T I N e B U R R O U G H A N D H O W A R D R H e I N G O L D

3 WTF?! 27 R O B e R T N I D e F F e R

4 SF Garden Registry 38 A M Y F R A N C e S C H I N I , D A V I D L U , A N D M Y R I e L M I L I C e V I C

PART III Crowdsourcing and Participation 47

Cheaper by the Dozen: An Introduction to “Crowdsourcing” 47 T R e B O R S C H O L z

5 Mechanical Olympics 55 X T I N e B U R R O U G H

6 Google Maps Road Trip 66 P e T e R B A L D e S A N D M A R C H O R O W I T z

viii CoNteNts

PART IV Data Visualization 76

On Data Visualization 76

7 Superfund365 79 B R O O K e S I N G e R

8 Pastiche 90 C H R I S T I A N M A R C S C H M I D T

PART V Error and Noise 100

Seductive errors: A Poetics of Noise, introduction 100 M A R K N U N e S

9 Luscious 104 F e R N A N D A V I é G A S A N D M A R T I N W A T T e N B e R G

10 Tumbarumba 111 e T H A N H A M

PART VI Surveillance 121

Web 2.0 Surveillance and Art, introduction 121 C H R I S T I A N F U C H S

11 F ’Book: What My Friends Are Doing in Facebook 128 L e e W A L T O N

12 Traceblog 137 e D U A R D O N A V A S

PART VII Tactical Media and Democracy 145

Tactical Media, introduction 145 C R I T I C A L A R T e N S e M B L e

13 The Good Life/La Buena Vida 148 C A R L O S M O T T A W I T H e V A D í A z , F R e C K L e S S T U D I O ,

A N D S T A M A T I N A G R e G O R Y

14 Oiligarchy 158 M O L L e I N D U S T R I A / P A O L O P e D e R C I N I

PART VIII Open Source 166

Open Source Creativity, introduction 166 D A V I D M . B e R R Y

CoNteNts ix

15 The Real Costs 170 M I C H A e L M A N D I B e R G

16 Add- Art: Sharing, Freedom, and Beer 179 S T e V e L A M B e R T

PART IX Hacking and Remixing 189

Hacking and Remixing, introduction 189 S T e F A N S O N V I L L A - W e I S S

17 Pigeonblog 192 B e A T R I z D A C O S T A

18 JoyceWalks 200 C O N O R M C G A R R I G L e

PART X Performance and Analog Counterparts 210

Performance and Analog Counterparts, introduction 210 K e N G O L D B e R G

19 The Gandhi Complex: The Mahatma in Second Life 212 J O S e P H D e L A P P e

20 Alerting Infrastructure! Challenging the Temporality of Physical versus Virtual environments 221 J O N A H B R U C K e R - C O H e N

Index 228

x

Figures

1.1 Color Field Paintings (Browser) by Michael Demers 7 1.2 Color Field Paintings (Browser) by Michael Demers 8 2.1 Cory Arcangel (US), Blue Tube, 2007 20 2.2 Ben Coonley (US), Be Cool We’ll Be Back 100% in a Bit, 2008.

The title references YouTube.com’s message during site maintenance 21 2.3 Ben Coonley (US), Opening Ceremonies, 2008. Both screenshots of Ben

Coonley’s work were taken from the series, Seven Video Responses to Constant Dullaart’s YouTube as a Subject 21

2.4 Martin Kohout (Cz), Moonwalk, 2008 22 2.5 Adam Cruces (US), 3D YouTube for Constant Dullaart, 2008 22 2.6 Julien Levesque (FR), Most Viewed, All Time, All Category, All

Languages, 2008 23 3.1 WTF?! character login screen 30 3.2 WTF?! NPCs 31 3.3 PROXY interfaces (1999–2002) 32 3.4 unexceptional.net interfaces (2003–2006) 33 3.5 WTF?! SDK player editor 35 4.1 Amy Franceschini, David Lu, and Myriel Milicevic, SF Garden

Registry can be viewed at gardenregistry.org 38 4.2 A hand- drawn map for the SF Garden Registry 39 4.3 Upload Image page on SF Garden Registry 40 4.4, 4.5 Making Hand Drawn Maps: Redrawing the city on paper should

be just as easy as changing the “real” city. We first drew maps by hand including animations with the intention that this vernacular should influence people to feel like the city is not something that should be left to be planned by architects or urban planners but something that can be modified with as little effort as using a colored pencil, a seed, or a shovel. 43

5.1 Mechanical Turk Workers performing Olympic events for the Mechanical Olympics, 2008 and 2010 56

5.2 Sign created for Mechanical Olympics participants to download and wear in their videos 60

5.3 Manchester- based Wise Move Dance Group perform fencing for the Mechanical Games. © Cornerhouse, Manchester. Photograph by Alison Kennedy 63

5.4 Participants in Manchester perform an Olympic- style warm- up before creating videos for the Mechanical Games. © Simon Webb Photography 63

http://www.gardenregistry.org
http://www.unexceptional.net
http://www.YouTube.com
list oF Figures xi

5.5 Gold medalists receiving their awards at the Mechanical Games Awards Ceremony, Cornerhouse, Manchester, UK, October 3, 2010 63

6.1 Screenshot of the Google Maps Road Trip project in action 66 6.2 Peter Baldes on a green screen in his home set- up for Google Maps Road

Trip. Marc Horowitz appears in the inset box 68 6.3 A view of Marc Horowitz’s home office at the time of his virtual road

trip 69 6.4 Peter and Marc chat with road trip guests on Ustream 70 6.5 Peter and Marc are leaving Albuquerque en route to Virginia 71 6.6 Peter Baldes and Marc Horowitz complete the road trip in Virginia 74 7.1 Superfund365.org screenshot (McAdoo Associates, day 34 of Superfund365) 79 7.2 A view of the CeRCLIS interface. 81 7.3 Quanta Resources Superfund Site, Bergen County, NJ (day 1 of

Superfund365) 87 8.1 Pastiche displays keywords associated with New York City neighborhoods

in an immersive spatial view 91 8.2 Pastiche references the vertical architecture of Manhattan 92 8.3 A list view allows alphabetical browsing of keywords by neighborhood 93 8.4 Neighborhood labels are surrounded by their related keywords extracted

from blog articles 93 8.5 The “hockey stick” graph originally published by the IPCC and

popularized by An Inconvenient Truth. Image credit: Climate Change 2007: The Physical Science Basis. Working Group I Contribution of the Fourth Assessment Report of the Intergovernmental Panel on Climate Change, Figure 6.10. Cambridge University Press. Used with permission from the IPCC 95

8.6 An aerial perspective view shows the contours of the city 97 9.1 The RGB color model mapped to a cube 105 9.2 Buckets of color 106 9.3 Buckets with more pixels represented as bigger cubes 106 9.4 A circle template 107 9.5 The resulting image where color is filled in by the software program

developed for Luscious 107 9.6 Italian Blues, part of the Luscious Gallery collection, Fernanda Viégas

and Martin Wattenberg 2010 108 9.7 Warm Glow, part of the Luscious Gallery collection, Fernanda Viégas and

Martin Wattenberg 2008 108 9.8 Escape, part of the Luscious Gallery collection, Fernanda Viégas and

Martin Wattenberg 2008 109 9.9 Absolut, part of the Luscious Gallery collection, Fernanda Viégas and

Martin Wattenberg 2010 109 9.10 Valentino, part of the Luscious Gallery collection, Fernanda Viégas and

Martin Wattenberg 2010 109 9.11 The final Holland America Line composition created for Luscious by

Fernanda Viégas and Martin Wattenberg 109 10.1 “Little M@tch Girl” by Heather Shaw as displayed by Tumbarumba on

the New York Times website 111 10.2 Detecting a face where none exists. Photograph by Pam Cash,

CC- BY-NC- ND 112

http://www.Superfund365.org
xii list oF Figures

10.3 “Temp” by Greg van eekhout as displayed by Tumbarumba on the New York Times website 115

11.1 Lee Walton performs “Conrad Bakker is tending to the houseplants” for F ’Book: What My Friends Are Doing in Facebook 128

11.2 Lee Walton performs a status update for F ’Book: What My Friends Are Doing in Facebook 135

12.1, 12.2 Traceblog by eduardo Navas 137 13.1 The Good Life/La Buena Vida by Carlos Motta 148 13.2 The Good Life/La Buena Vida Internet archive, Carlos Motta 156 14.1 The start- up screen for the game Oiligarchy, Paolo Pedercini/

molleindustria 158 14.2, 14.3, 14.4 Oiligarchy game interface, Paolo Pedercini/molleindustria 160 15.1 The Real Costs by Michael Mandiberg 170 15.2 The Real Costs on the American Airlines website 172 16.1 Mock-up demonstrating Add-Art on the New York Times website 179 16.2 Add-Art content management system 183 16.3 Shows promoted on the Add-Art website 184 16.4 Art replaces advertisements on the Salon.com website 185 16.5, 16.6 Art replaces advertisements on the Foxnews.com website 186 16.7, 16.8 Add- Art on the New York Magazine website’s Best Lawyers

advertorial page 186 17.1 A pigeon wearing the Pigeonblog “backpack,” consisting of a sensor,

GPS, and GSM modules during the project premiere at the 01 Festival in San José, California, 2006 192

17.2 Releasing the pigeons at the 01 Festival 193 17.3 Screenshot of the Pigeonblog website 194 17.4 A Pigeonblog pollution visualization 197 18.1, 18.2 Two views of the O’Connell Bridge as interpreted by JoyceWalks

participants 200 18.3 Screenshot of JoyceWalks created in Paris 201 18.4 Screenshot of JoyceWalks created in Tokyo 203 19.1 The Artist’s Mouse by Joseph DeLappe 212 19.2 Quake/Friends by Joseph DeLappe 213 19.3 dead- in-iraq by Joseph DeLappe 214 19.4 MGandhi chats with another avatar in Second Life, Joseph DeLappe 215 19.5 Joseph DeLappe walks his avatar through Second Life using a treadmill 216 19.6 Joseph DeLappe with his 17-foot cardboard Gandhi © Christine A. Butler 218 20.1 The Source © Greyworld 222 20.2 Samson, Chris Burden, 1985. Photograph © zwirner and Wirth, NY 224 20.3 System diagram of Alerting Infrastructure! 2003 web view,

Jonah Brucker- Cohen 225 20.4 Alerting Infrastructure! online hit counter 225 20.5 Alerting Infrastructure! installation view in 2006, Jonah Brucker- Cohen 226

http://www.Salon.com
http://www.Foxnews.com
xiii

aCkNoWledgmeNts

I would like to thank my colleagues who have encouraged and inspired me to write this book at California State University, Fullerton, including Paul Martin Lester, Tony Fellow, Rick Pullen, emily erickson, Henry Puente, Jason Shephard, Genelle Belmas, Laura Triplett, Coral Ohl, and Mark Latonero. Peers and friends, including Lucy HG, Shani, Crystal Adams, Laurie JC Cella, and Jennifer Justice were equally supportive. Many thanks to each contributor for his/her influence and feedback which shaped the book. Net Works would not have been possible without the support of Routledge. Matt Byrnie understood this project from day one, Carolann Madden intuitively knew how to keep the ball rolling when Matthew left Routledge in the middle of 2010. erica Wetter was instrumental in the final stages. I am eternally grateful for her ability to navigate some of the licensing issues left for her to handle in the eleventh hour. I would like to thank my teachers, both “on and off the mat.” Barbara Bannerman, Cindy Anderson, elizabeth Bolla, and Sasha Papovich kept me relaxed, even in Decem- ber. Thank you, repeatedly, to Christopher James, Steven Kurtz, Charles Recher, ellen Rothenberg, and Humberto Ramirez. Super huge thank you to my students—past, present, and future. Last, I would like to thank my family. Dear Paul Martin Lester, Viola and Bill Burrough, thank you for your continued support.

xiv

CoNtributors

Peter Baldes is a new media artist and educator. As a member of Virginia Common- wealth University’s Painting and Printmaking faculty, his work and teaching focus on the integration of new technologies with the traditions of printmaking, per- formance, and collaborative art works. With a focus on the use of readily available consumer- level digital tools for artistic production, his courses stress the impor- tance of new media history and literacy as well as the significance of the Internet and browser as a new platform for creative expression. Peter has been creating artworks for the web since 1996 and has been teaching since 2001.

David M. Berry is a Lecturer in the Department of Political and Cultural Studies at Swansea University. He writes widely on issues of code and media theory, and his work includes Copy, Rip, Burn: The Politics of Copyleft and Open Source (Pluto Press, 2008), Understanding Digital Humanities (Palgrave Macmillan, 2011), and The Philo- sophy of Software: Code and Mediation in the Digital Age (Palgrave Macmillan, 2011).

Jonah Brucker- Cohen is a researcher, artist, and writer. He received his PhD in the Dis- ruptive Design Team of the Networking and Telecommunications Research Group (NTRG), Trinity College Dublin. He is an Adjunct Assistant Professor of Communi- cations in the Media, Culture, Communication Department of New York University Steinhardt School of Culture education and Human Development, teaches at Parsons MFA Design + Technology, and has also taught at NYU’s Interactive Telecommunica- tions Program (ITP). He worked as an R&D OpenLab Fellow at eyebeam in New York City in 2006–2007. From 2001 to 2004 he was a Research Fellow in the Human Con- nectedness Group at Media Lab europe. He received his Masters from ITP in 1999 and was an Interval Research Fellow from 1999 to 2001. His work and thesis focuses on the theme of “Deconstructing Networks,” which includes projects that attempt to criti- cally challenge and subvert accepted perceptions of network interaction and experience. He is co- founder of the Dublin Art and Technology Association (DATA Group) and a recipient of the ARANeUM Prize sponsored by the Spanish Ministry of Art, Science, and Technology and Fundacion ARCO. His writing has appeared in numerous inter- national publications including WIRED Magazine, Make Magazine, Neural, Rhizome. org, Art Asia Pacific, Gizmodo and more, and his work has been shown at events such as DeAF (2003, 2004), Art Futura (2004), SIGGRAPH (2000, 2005), UBICOMP (2002, 2003, 2004), CHI (2004, 2006), Transmediale (2002, 2004, 2008), NIMe (2007), ISeA (2002, 2004, 2006, 2009), Institute of Contemporary Art in London (2004), Whitney Museum of American Art’s ArtPort (2003), Ars electronica (2002, 2004, 2008), Chelsea Art Museum, zKM Museum of Contemporary Art (2004–2005), Museum of Modern Art (MOMA—NYC) (2008), and the San Francisco Museum of Modern Art (SFMOMA) (2008).

http://www.Rhizome.org
http://www.Rhizome.org
CoNtributors xv

xtine burrough is a media artist, educator, and co- author of Digital Foundations (New Riders/AIGA, 2009). Informed by the history of conceptual art, she uses social net- working, databases, search engines, blogs, and applications in combination with pop- ular sites like Facebook, YouTube, and Mechanical Turk, to create web communities that promote interpretation and autonomy. xtine believes art shapes social experiences by mediating consumer culture with rebellious practices. As an educator, she bridges the gap between histories, theories, and production in design and new media educa- tion. Her work is archived at www.missconceptions.net.

Critical Art Ensemble (CAe) is a collective of five tactical media practitioners of vari- ous specializations including computer graphics and web design, film/video, photo- graphy, text art, book art, and performance.

Formed in 1987, CAe’s focus has been on the exploration of the intersections between art, critical theory, technology, and political activism. The group has exhib- ited and performed at diverse venues internationally, ranging from the street, to the museum, to the Internet. Museum exhibitions include the Whitney Museum and the New Museum in New York City; the Corcoran Museum in Washington, DC; the Institute of Contemporary Arts, London; the Museum of Contemporary Art, Chi- cago; Schirn Kunsthalle, Frankfurt; Musée d’Art Moderne de la Ville de Paris; and the Natural History Museum, London.

The collective has written six books, and its writings have been translated into 18 languages. Its book projects include: The Electronic Disturbance (Autonomedia, 1994), Electronic Civil Disobedience and Other Unpopular Ideas (Autonomedia, 1996), Flesh Machine: Cyborgs, Designer Babies, Eugenic Consciousness (Autonomedia, 1998), Digital Resistance: Explorations in Tactical Media (Autonomedia, 2001), Molecular Invasion (Autonomedia, 2002), and Marching Plague (Autonomedia, 2006).

Beatriz da Costa is an interdisciplinary artist based in Los Angeles. She works at the intersection of art, science, and activism. Da Costa co- founded the artist collective “Preemptive Media,” and is an Associate Professor at the University of California, Irvine.

Joseph DeLappe is a media artist/activist and educator. He has been working with electronic and new media since 1983. Projects in online gaming performance, instal- lation, and sculpture have been shown throughout the United States and abroad. A pioneer of gaming performance, much of his work over the past decade has involved taking creative agency in online shooter games and virtual communities. The works engage politics, war, work, play, protest, and human–machine relations, with the intention to critically and conceptually engage while connecting with the everyday; to reify the ordinary into the extraordinary; to intervene in social and political real- ities both real and virtual.

Michael Demers has taught college- level digital art and new media courses since 2007. His work incorporates culture and cultural identity in a synthesis of critical investi- gation and his own adolescent preoccupation with toys and other weird ephemera. He is a member of the White Columns Artist Registry (New York), the Rhizome Curated ArtBase (New Museum, New York), BitStream New Media, and is a core commentator for TINT Arts Lab (London). He received his BFA from Florida Atlan- tic University, an MFA from Ohio University, and a Staatliche Hochschule für Bildende Künste Diplom from the Akademie der Bildenden Künste, Munich.

http://www.missconceptions.net
xvi CoNtributors

Eva Díaz is an Assistant Professor of Art and Design History at Pratt Institute. Last year she received her PhD from Princeton University for her dissertation titled “Chance and Design: experimentation in Art at Black Mountain College.”

Constant Dullaart (the Netherlands, 1979, Rietveld Academie Amsterdam, Rijk- sakademie Amsterdam) is trained as a video artist, his work has recently focused on the Internet and re- contextualizing found material. His works are widely discussed online. Brian Droitcour writes for Art in America,

Dullaart’s readymades, however, demonstrate his interest in what might be called “default” style—the bland tables of sans serif text and soulless stock photography that frame ads for some of the most common search terms (auto insurance, cheap airline tickets, pornography), baring the underbelly of the Inter- net’s popular use.

But Dullaart’s readymades are more than a formalist exploration of the Internet at its most banal. They are also a study in the relationship of the index to its referent, an issue that Rosalind Krauss connected to the readymade in her 1976 essay “Notes on the Index, Part 1.” Krauss defines indices as “the traces of a particular cause, and that cause is the thing to which they refer, the object they signify.” Dullaart is a persistent inves- tigator of new modes of constructing and relating meaning brought about by the Inter- net. He recently quit his job teaching at the Gerrit Rietveld Academie, and curated several events in Amsterdam, such as the periodically held “Lost and Found” evenings (with his final event in the New Museum), “Contemporary Semantics Beta” in Arti et Amicitiae, and the recently finished exhibition “Versions” in the Dutch Media Art Institute (NIMK). His work is shown internationally in places as the Centre Pompidou in Paris; Art in General and MWNM gallery in New York; Institute of Contemporary Arts, London; Montevideo, NIMK; de Appel, W139; the Stedelijk Museum, ellen de Bruijne projects, and Gallery West. Dullaart lives/works in Berlin and Amsterdam.

Amy Franceschini (www.futurefarmers.com) is an artist and educator who uses vari- ous media to encourage formats of exchange and production, often in collaboration with other practitioners. An over- arching theme in her work is a perceived conflict between humans and nature. Her projects reveal the history and currents of contra- dictions related to this divide by collectively challenging systems of exchange and the tools we use to “hunt” and “gather.” Using this as a starting point, she often provides a playful entry point and tools for an audience to gain insight into deeper fields of inquiry—not only to imagine, but to participate in and initiate change in the places we live.

Amy founded the artists’ collective and design studio Futurefarmers in 1995, and co- founded Free Soil, an international artist collective in 2004. She is currently a visiting faculty member in the MFA program at California College of the Arts and Stanford University.

Freckles Studio is Antonio Serna and Peggy Tan, two artists who live and work in New York. They work with galleries and artists, musicians, and designers such as Laurie Anderson, David Byrne, and Trisha Brown.

Christian Fuchs is Chair and Professor for Media and Communication Studies at Uppsala University’s Department of Informatics and Media Studies. He is also board member of the Unified Theory of Information Research Group, Austria, and editor of tripleC

http://www.futurefarmers.com
CoNtributors xvii

(cognition, communication, co- operation): Open Access Journal for a Global Sustainable Informa- tion Society. Fuchs is author of more than 120 academic publications, including Inter- net and Society: Social Theory in the Information Age (Routledge 2008) and Foundations of Critical Media and Information Studies (Routledge, 2010). Together with Kees Boersma, Anders Albrechtslund, and Marisol Sandoval, he edits the collected volume The Internet and Surveillance (Routledge, 2011). He is coordinator of the research project Social Net- working Sites in the Surveillance Society which is funded by the Austrian Science Fund (FWF ). His website is http://fuchs.uti.at.

Ken Goldberg is craigslist Distinguished Professor of New Media, co- founder and past Director of the Berkeley Center for New Media, and Founding Director of Univer- sity of California, Berkeley’s Art, Technology, and Culture Lecture Series. He is an artist and Professor of Industrial engineering and Operations Research at UC Ber- keley, with secondary appointments in electrical engineering and Computer Science and the School of Information. Goldberg earned his PhD in Computer Science from Carnegie Mellon University in 1990. Goldberg has published over 150 peer- reviewed technical papers on algorithms for robotics, automation, and social information filter- ing and holds seven U.S. patents. He is Founding co- Chair of the Ieee Technical Committee on Networked Robots and co- Founder the Ieee Transactions on Auto- mation Science and engineering (T- ASe). Goldberg’s art installations have been exhibited internationally at venues such as the Whitney Biennial, Centre Pompidou in Paris, Buenos Aires Biennial, and the ICC in Tokyo. Goldberg was awarded the Presidential Faculty Fellowship in 1995 by President Clinton, the National Science Foundation Faculty Fellowship in 1994, the Joseph engelberger Award in 2000, and was named Ieee Fellow in 2005. Ken Goldberg lives in Mill Valley, CA with his daughters and wife, filmmaker and Webby Awards founder Tiffany Shlain.

Stamatina Gregory is an independent curator and critic. She is a doctoral candidate at the Graduate Center at the City University of New York, writing on contemporary landscape photography, militarism, activism, and the media.

The influence of Ethan Ham’s former career in game development can be seen in the art he makes. The artworks are often playful and demonstrate his continuing inter- est in the interaction between an artwork and its beholder. ethan’s artworks often explore themes of translation and mutation. His projects include literary/art hybrids, kinetic sculptures, and Internet- based artworks. ethan is an Assistant Professor of New Media at the City College of New York.

Marc Horowitz is a Los Angeles- based interdisciplinary artist, working primarily with performance, video, and installation. The central concerns driving most of his work have to do with engaging strangers in public and on the Internet around an absurd- ist principle. His projects also aim to engage in a dialogue with a diverse range of subjects from entertainment, advertising, architectural environments, and commerce, to how to find joy and happiness on a day- to-day basis. Continually, the work carries a makeshift, DIY aesthetic; within this world, he is able to encourage and facilitate exchanges of laughter, provocation, problem- solving, and “improved” ways of living. He is constantly making lists of potential inventions, neologisms, money- making schemes, jokes, absurdist drawings, and impromptu actions, which often inform larger projects or reside on his website. His work speaks to “the moment,” reflects and critiques American idealism, expansionism, and capitalism, and parodies pop culture so when successful, it becomes re- appropriated by it.

http://fuchs.uti.at
xviii CoNtributors

Steve Lambert’s father, a former Franciscan monk, and mother, an ex- Dominican nun, imbued the values of dedication, study, poverty, and service to others—qualities which prepared him for life as an artist.

Lambert made international news just after the 2008 U.S. election with the New York Times “Special edition,” a replica of the gray lady announcing the end of the wars in Iraq and Afghanistan and other good news. He is the founder of the Anti- Advertising Agency, lead developer of Add- Art (a Firefox add- on replacing online advertising with art). He was a Senior Fellow at the eyebeam Center for Art and Technology and is faculty at the School of the Museum of Fine Art in Boston. He dropped out of high school in 1993.

David Lu (www.vellum.cc) is a nomadic designer and software developer. He writes soft- ware for drawing and mapmaking. David studied design at Interaction Design Institute Ivrea, Italy, and has BA degrees in Computer Science, economics, and Psychology from Rutgers College. He is also a member of the Drawing Center’s curated artist registry.

Conor McGarrigle is a Dublin- based artist and researcher. His work is concerned with mapping, psychogeographical exploration of urban space, and the impact of locative technologies on our perception of the city. He received an MFA from the National College of Art and Design, Dublin and is currently a researcher at the Graduate School for Creative Arts and Media in Dublin, conducting research into participation in locative media.

Michael Mandiberg sold all of his possessions online on Shop Mandiberg, made perfect copies of copies on AfterSherrieLevine.com, and created web browser plug- ins that highlight the environmental costs of a global economy on TheRealCosts.com. He is a co- author of Digital Foundations and Collaborative Futures. A former Senior Fellow at eyebeam, he is an Assistant Professor at the College of Staten Island/CUNY. He lives, works, and rides his bicycle in Brooklyn. His work lives at Mandiberg.com.

Myriel Milicevic is an artist, researcher, and interaction designer based in Berlin. With her Neighbourhood Satellites (www.neighbourhoodsatellites.com) she explores the hidden connections between people and their natural, social, and technical environ- ments. She received her MA from the Interaction Design Institute, Ivrea, Italy and her diploma in Graphic Design from the Gerrit Rietveld Academie, Amsterdam.

Carlos Motta is a Colombian- born interdisciplinary artist and educator. Working pri- marily in photography, video, and installation, he engages with political history by employing strategies used in documentary genres and sociology in order to interro- gate governmental structures, to observe the repercussions of political events, and to suggest alternative ways in which to interpret those histories.

Eduardo Navas researches the crossover of art and media in culture. His production includes art and media projects, critical texts, and curatorial projects. He has pre- sented and lectured about his work and research internationally. Navas collaborates with artists and institutions in various countries to organize events and develop new forms of publication. He has lectured on art and media theory, as well as practice, at various colleges and universities in the United States, including Otis College of Art and Design, San Diego State University, Penn State University, and eugene Lang College The New School for Liberal Arts. Navas received his PhD from the Depart- ment of Art and Media History, Theory, and Criticism at the University of California in San Diego, and is a Postdoctoral Fellow in the Department of Information Science

http://www.vellum.cc
http://www.neighbourhoodsatellites.com
http://www.AfterSherrieLevine.com
http://www.TheRealCosts.com
http://www.Mandiberg.com
CoNtributors xix

and Media Studies at the University of Bergen, Norway. He researches the history of Remix in order to understand the principles of remix culture. Selected texts and research projects are available on Remix Theory at http://remixtheory.net. His main website is http://navasse.net.

Robert Nideffer researches, teaches, and publishes in the areas of virtual environments and behavior, interface theory and design, technology and culture, and contemporary social theory. He holds an MFA in Computer Arts (1997) and a PhD in Sociology (1994), and is a Professor in Studio Art and Informatics at University of California, Irvine. Robert has participated in a number of national and international online and offline exhibitions, speaking engagements and panels for a variety of professional conferences.

Mark Nunes teaches courses in New Media Studies at Southern Polytechnic State Uni- versity, where he is also Chair for the Department of english, Technical Commu- nication, and Media Arts. He is author of Cyberspaces of Everyday Life (University of Minnesota Press, 2006). His most recent work includes an edited collection of essays entitled Error: Glitch, Noise, and Jam in New Media Cultures (Continuum, 2010).

Paolo Pedercini is an artist, independent game designer, and educator. His work inves- tigates the relationship between digital entertainment and ideology. On the Internet he is mostly known as Molleindustria, an entity that re- appropriates video games as tactical and strategic media. He dreams of a world without barriers between high and low culture, where artists desert galleries and museums to inject critical think- ing in mainstream cultural production.

Christian Marc Schmidt is a German/American designer and media artist. Stem- ming from an interest in working with data, his approach is parametric and content- oriented, often resulting in the design of adaptive systems—dynamic models that change form as their content changes. Generally, his work is concerned with evid- ence, disclosure, and the materiality of information, while thematically he is inter- ested in modeling individual experiences and behaviors in aggregate to identify patterns that may help describe a collective identity.

Trebor Scholz is a writer, conference organizer, Assistant Professor in Media and Culture, and Director of the conference series “The Politics of Digital Culture” at the New School in New York City. He also founded the Institute for Distributed Creativity, which is known for its online discussions of critical Internet culture, specifically the ruthless casu- alization of digital labor, ludocapitalism, distributed politics, digital media and learning, radical media activism, and micro- histories of media art. Trebor is co- editor of The Art of Free Cooperation (Autonomedia, 2007), a book about online collaboration, and editor of Digital Labor: The Internet as Playground and Factory (Routledge, forthcoming). He holds a PhD in Media Theory and a grant from the John D. and Catherine T. MacArthur Foundation. Forthcoming edited collections by Trebor include The Digital Media Peda- gogy Reader and The Future University (both iDC, 2011). His book chapters, written in 2010, zoom in on the history of digital media activism, the politics of Facebook, limits to accessing knowledge in the United States, and mobile digital labor. His forthcoming monograph offers a history of the social web and its Orwellian economies.

Edward A. Shanken writes and teaches about the entwinement of art, science, and technology with a focus on interdisciplinary practices involving new media. He is a researcher at the Amsterdam School for Cultural Analysis at the University of Amsterdam (UvA) and a member of the Media Art History faculty at the Donau

http://remixtheory.net
http://navasse.net
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University in Krems, Austria. He was formerly Universitair Docent of New Media at UvA, executive Director of the Information Science + Information Studies program at Duke University, and Professor of Art History and Media Theory at Savannah Col- lege of Art and Design. Recent and forthcoming publications include essays on art and technology in the 1960s, historiography, and bridging the gap between new media and contemporary art. He edited and wrote the introduction to a collection of essays by Roy Ascott, Telematic Embrace: Visionary Theories of Art, Technology and Con- sciousness (University of California Press, 2003). His critically praised survey, Art and Electronic Media, was published by Phaidon Press in 2009. Many of his publications can be found on his website: www.artexetra.com.

Brooke Singer is a media artist and educator who lives in Brooklyn. Her practice blurs the borders between science, technology, politics, and art. She works across different media to provide entry into important social issues that are often characterized as specialized to a general public. She is Associate Professor of New Media at Purchase College, State University of New York, and co- founder of the art, technology, and activist group Preemptive Media.

Stefan Sonvilla- Weiss (AT/FI), PhD, is Professor of Communication and education Technologies in Visual Culture and Head of the international Master of Arts pro- gram ePedagogy Design—Visual Knowledge Building at Aalto University/School of Art and Design Helsinki. He coined the term Visual Knowledge Building, refer- ring to “a visualization process of interconnected models of distributed socio- cultural encoded data representations and simulations that are structured and contextualized by a learning community.” In his research he tries to find answers to how real and virtual space interactions can generate novel forms of communicative, creative, and social practices in global connected communities.

For the last 20 years he has worked as an art and design teacher, media artist, graphic designer, author, multimedia- developer, and university teacher. Sonvilla- Weiss has also served as an expert advisor and reviewer for a number of scientific and research bodies, including the european Commission, and has received several honors and scholarships.

He is the author of Synthesis and Nullification: Works 1990–2010 (Springer, 2011), (In)visible: Learning to Act in the Metaverse (Springer, 2008), Virtual School: kunst- netzwerk.at (Peter Lang, 2003), and has edited Mashup Cultures (Springer, 2010) and (e)Pedagogy Design: Visual Knowledge Building (Peter Lang, 2005).