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Category: Interview (linked)


An E-mail Conversation with Mark Edward Grimm

The net establishes its significance as artistic medium no longer in specialized communities but has become dispersed more and more into contexts commonly assigned to the “classical” art business. As a logical consequence the coherence of these structures is broken up and infiltrated. Traditional processes have been running along the line: Production of an object-contextualisation as artwork-selling of it (eventually). For a few years now, however, the question has been raised if the “fetish object” as an artist’s product is still acceptable. A basic principle of artistic analysis is the inclusion of a reality which does not necessarily mean descriptive realism but intellectual examination. Thus, can the examination of realities by means of an object be more than mere decoration? As a role model for a discursive medium, doesn’t ‘the net’ need to replace the “progress” (meaning a linear progress of an operating process resulting in the manifestation with an object )?

In his works Mark E. Grimm covers different contexts which—evaluated by conventional criterias—could be considered as undecisive. The collaborative work in and outside the net, the study of the working processes and the transfer of net-related working methods into real life are all practices deliberately dealt with as artistic statements but rarely leave material-related marks. Perhaps we observe here the reversal of the 90′ s Californian Ideology and its “Second Life”: the reality is not subordinated to the net but the net turns with its constant use into a part of the reality. (Interview conducted by carlos katastrofsky in June 2007)

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An E-mail Conversation with [mez] Mary-Anne Breeze

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mez, netwurker, data[h!]bleeder, ms post modemism, mezflesque.exe, ova.kill , net.w][ho][urker, Purrsonal Areah Netwurker, Phonet][r][ix … The pseudomyms of the Australian Internet artist Mary-Anne Breeze are as multifaceted and multilayered as is her artistic work. In issue #005 of Re: MAGAZINE Mary-Anne Breeze talks about her own language of artistic creation called mezangelle which is composed by the playful use of aspects of form and content like orthography, semantics and punctuation and mixed with the hybrid use of segmented code and programming languages, Internet-slang and literary texts. In her own words, her wurks r never really finished; they kinda hang together in a faux_fixed state,

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Networked_Music_Review: Interview with Bill Fontana

Interview with Bill Fontana [excerpt]
by Peter Traub

Bill Fontana has been creating musical networks and making “sound sculptures” since the early 1970s. His works are usually large in scale and often involve the transmission of sounds from one ‘listening’ location with a network of microphones and/or sensors to another location where the sounds are overlayed onto the local sonic environment. Fontana’s work focuses strongly on the idea of listening as a compositional act – that is, it is driven by the idea that music surrounds us constantly and that the patterns of music are audible if we just take the time to listen…

Peter Traub: Natural sound is central to many of your pieces, especially the use of natural sound transplanted or displaced (or “trans-placed” as Anthony Moore termed it) into urban or man-made settings, such as your 1987 piece, “Sound Sculptures through the Golden Gate”. The displacement and recontextualization of these sounds within new spaces is part of what makes your work effective. In the process of displacing the natural sounds, how do you treat them? That is, do you do any sort of processing on the sounds to transform them, do you prefer that they speak for themselves?

Bill Fontana: There is no processing applied to the sounds except the artistic choice of putting a microphone near it or to map it. All my editing takes place before the recording or transmission is made. The transformation occurs in the re-contextualization of the sound. “Sound Sculptures through the Golden Gate”, with its combination of vivid sea bird sounds and the deep musical tones of the Golden Gate Bridge Fog Horns has a musical quality that is almost Wagnerian. Many compositional details, such as how the placement of 8 microphones on different parts and dimensions of the Bridge would reveal natural acoustic delays was a type of acoustic processing that was deliberately chosen..

Bill Fontana will be answering reader’s questions in the comments section until December 6, 2007. Read the complete interview here:

A silent, ironic criticism. Interview with Aram Bartholl

A silent, ironic criticism. Interview with Aram Bartholl
Domenico Quaranta

First published in “Spawn of the Surreal”, Wednesday, September 26, 2007

Second City – the show “curated” (reading on you will understand why I use the quotation marks) in Linz by the German artist Aram Bartholl – has been – no doubts – one of the cardinal points of Ars Electronica’s last edition, Goodbye Privacy. The show disseminated through the city was highly representative of the “nice side” of surveillance in the age of digital exhibitionism, an issue that was at the core of the Festival. “Showcasing ones customized persona, staging ones own image is the order of the day. Feature yourself or its GAME OVER, dude!”, wrote the curators Christine Schöpf and Gerfried Stocker. As one of the first big shows raising the issue of art and virtual worlds, Second City has been an important show, and a point of departure for further research. In the same time (and for the same reason), it has been an highly problematic show, too. People liked the idea to bring the exhibition to the city and the streets, but there was a lot of mumbling and discussion about an approach that, for many, was superficial and looked like promotion. As you may guess from the previous post, I agree with this criticism, but what Bartholl is saying below made the show more clear to me – and made me more indulgent to the show. Hopefully, it will be the same for you…

DQ.How is the project born?

AB. Ars Electronica asked me this spring if I was interested in doing a concept and design for Second City – Marienstrasse. The idea of going into public space and Second Life as a topic of Marienstrasse existed already then. I was quite excited about the idea and developed several workshops and projects. In the beginning I was not sure which role I should play: curator or artist. I decided to put emphasis on being artist showing several projects at Marienstrasse related to Second Life. Which means I didn’t curate Marienstrasse although I brought in some artists in cooperation and had some influence. In the end my name was on top for whole Marienstrasse, which is an honor but also a great responsibility, as I realize now. My interest has been more into developing and showing, rather than “curating”.

Read the entire interview at Spawn of the Surreal

Mendi+Keith Chicago Public Radio feature

Dear friends,

We’re writing to let you know about Chicago Public Radio’s recent feature on our project Big House / Disclosure. They have presented an interview and excerpts of our work in conjunction with the Third Coast International Audio Festival, where we’ll be giving a presentation in November. If you’re in the area, we’d love to see you then.


Third Coast Audio Festival

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Music and Sound Clips

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Interview: Janet Cardiff and George Bures Miller by Peter Traub

Interview: Janet Cardiff and George Bures Miller
by Peter Traub
Networked_Music_Review: target = “_blank”
September 20, 2007

Janet Cardiff and George Bures Miller create multimedia pieces that combine aspects of sculpture, cinema, sound installation, and short-story fiction. Installations such as “The Paradise Institute” (2001) use forced perspective and a three-dimensional sound track to create the illusion that one is sitting in a large theater. Their ‘sound walks’ and ‘video walks’ are immersive pieces that use common consumer technologies, such as iPods and video cameras, to create experiences that blur the line between experienced reality and narrative fiction. Their works are exhibited internationally; their exhibit “The Killing Machine and other stories” will arrive at the Miami Art Museum on October 15, 2007. Read the complete interview here:

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Psicosis. de Hitchcock, ralentizada a 24 horas, Arte/Entrevista: Douglas Gordon

Escocés nacido en Glasgow en 1966, revolucionó la relación entre el cine y el video-arte. En 1996, ganó el prestigioso Turner Prize de Londres, fue elegido mejor artista de la Bienal de Venecia en 1997 y, un año después, distinguido con el Premio Hugo Boss en Nueva York. En un diálogo exclusivo con adnCULTURA habla de su infancia, de sus obsesiones y de Timeline, la muestra que viajó del Moma al Malba
Sábado 15 de setiembre de 2007 | Publicado en la Edición impresa

Por Graciela Taquini

Confieso que tenía un cierto prejuicio frente a una figura como Douglas Gordon, una especie de estrella de rock del arte contemporáneo, un niño mimado en los últimos 15 años por curadores, museos y bienales. Que en la actualidad, en la mitad de su carrera, circula por todo el mainstream . En Buenos Aires se había exhibido Las Histéricas en el Museo de Arte Moderno y una versión de B Movie de la colección Jumex.

Muy relajado, con una copa de vino tinto en la mano, se muestra como un tipo sencillo, aunque con salidas insólitas: comenzó a hablar en francés cuando la conversación se refirió al tema del cine.

“Soy hijo de una familia de clase obrera, pero no quiero usar esto como un pasaporte. No quiero hacer nada que avergüence a mis padres o a mi hijo. Tengo una familia fantástica. Me siento muy afortunado por la vida que tengo.” Douglas constantemente menciona a su madre, testigo de Jehová, que ejerció una gran influencia y cuya presencia es constante en su obra. De repente suena su celular. “Es mi mamá”, comenta sonriendo y haciéndonos reír. ¿Verdad? ¿Mentira?

“Tuve una educación maravillosa en los cuatro años de la Escuela de Arte de Glasgow, donde me formé sobre todo en el campo de la performance . Allí todo se centraba en lo autobiográfico. En cambio, mis estudios en Londres fueron muy teóricos; sabía demasiado y eso no es bueno: uno tiene que sentir más de lo que sabe.”

Read the entire article at La Nación

Cronopis Associats interviews Richard Barbrook

Andrés Lomeña of Cronopis Associats interviewed Richard Barbrook on
13th September 2007.

The Spanish translation can found on the Cronopis Associats website:

Question 1

AL: Franco Berardi critizices your The Holy Fools. In his opinion, you simplify the rhizomatic thought of Deleuze and Guattari, making equal it to technonomadism and the Californian ideology. Berardi argues that the state cannot solve the self-organisational structure of the Net. My question is: what ethical and aesthetic paradigm should we take for Internet given that the May 68 Revolution was defeated?

RB: Bifo is attacking me for the very crime which inspired my article! In late-1990s London, Hari Kunzru and others at Wired UK were arguing that Gilles Deleuze and F̩lix Guattari were proponents of the Californian ideology. Knowing these gurus? political history and theoretical writings, I was curious as to why it was so easy to confuse their particular brand of hippie leftism with its apparent opposite: dotcom neo-liberalism. A decade earlier, an anarchist comrade who was running a pirate radio station in Paris had jokingly told me that Deleuze and Guattari ? and their milieu Рshould be called the ?Pol Pot tendency?. Michel Foucault only a few years earlier had been praising the Islamist seizure of power in Iran as a revolution against modernity. When D&G fantasised about nomads destroying the city in Mille Plateaux, they ? scarily ? did mean what they were saying! In The Holy Fools, I tried to explain this intellectual paradox: these prophets of hardcore anti-modernism had provided the theoretical tools for their own post-modernist recuperation. As Bifo?s loud protests demonstrate, there is obviously an embarrassing similarity between New Left anti-statism and New Right anti-statism. Much more seriously, D&G were also proponents of a post-structuralist approach which is completely compatible with the tenets of McLuhanism. Information ? not humanity ? is the subject of history. Artists and intellectuals are the new class of the new. So maybe it wasn?t so surprising that D&G?s vision of the Net was so easily misinterpreted as a celebration of the dominant imaginary future of the American empire: the information society?

Read the entire interview at

Networked_Music_Review: Interview with Scot Gresham-Lancaster, by Helen Thorington

Scot Gresham-Lancaster is a composer, performer, instrument builder and educator. He is dedicated to research and performance using the expanding capabilities of computer networks for musical and cross discipline expression. He studied with Philip Ianni, Roy Harris, Darius Milhaud, John Chowning, Robert Ashley, Terry Riley, “Blue” Gene Tyranny and Jack Jarret, among others. Gresham-Lancaster has been a composer in residence at Mills College and he has been developing new families of controllers at STEIM, Amsterdam. He has toured and recorded as a member of the HUB and has performed the music of Alvin Curran, Pauline Oliveros, John Zorn, and John Cage, under their direction. Gresham-Lancaster has also worked as a technical assistant to Lou Harrison, Iannis Xenakis, David Tudor among many others.

Helen Thorington: Welcome Scot. You were a member of the computer network band, the HUB, and an early pioneer of computer networked music. Tell us about the HUB and the kind of work you, John Bischoff, Tim Perkis, Chris Brown, Mark Trayle and Phil Stone did at that time.

Scot Gresham-Lancaster: The first Computer Network Music grew out of an underground new music scene that developed around the San Francisco Bay Area most specifically Mills College and the Center for Contemporary Music. There are several resources that might be of interest to those readers that want to investigate the historical background.

Read the full interview and ask questions at

Networked_Music_Review: Interview: Miya Masaoka

From Helen Thorington’s Interview with Miya Masaoka

“Miya Masaoka is a musician, composer and performance artist. She has created works for koto, laser interfaces, laptop and video and written scores for ensembles, chamber orchestras and mixed choirs. In her performance pieces she has investigated the sound and movement of insects, as well as the physiological responses of plants, the human brain, and her own body…

Helen: I have been impressed with your work with inter-species interactions. I wonder if you would tell us how you became interested in this and what made you think of other species as potential live performers?

cockroaches_legs.jpg Miya: Hmmm. I have always been interested in insects, the sounds of insects, and the hobby of having crickets as pets, and the way that social insects communicate and organize their societies in hierarchical structures. I was also thinking about the idea of the body, race and gender, and wanted to illustrate the body as a blank canvas upon which societal constructs are created and assigned. Cockroaches are social, not everyone’s favorite creature, and these from Madagascar make an incredible sound that sounds generated from a white noise filter. When I heard them, I immediately wanted to record their sounds and use them in a piece. Then I thought, why not use the actual bugs in the pieces, and have them create the composition with their movements? So when the roaches wander around on my body, while I’m lying on a table, their movements break the laser beams, and their amplified, pre-recorded sounds are heard in the space…” Continue reading at Networked_Music_Review:

Miya is available for questions (via the comments section) until July 7, 2007.