Welcome to the registration system for
Please take a little time to describe yourself.
You'll be added to a 'network map' of DMZ participants, supporters
and interested parties; people, groups, projects and places.
Media Art Projects MAP
Thomson & Craighead
ambientTV.NET &==|= [^_^] : ) : ( [___] /````\ (((i)))
A wandering wireless performance by
manu/mukul/muth with mU/minna/mo-ling
a leash of minstrels
sings streets into existence
leashed by time's ticks
at the tryst: journeys unwound
the city reinhabited
The ambientTV.NET arts collective/arts production company functions as a generative network that creates
the systems and spaces in which potential site-specific forms are investigated and evaluated.
It specializes in hybrid media projects and installations involving sound, image, information,
the body and motion, radio, and networks.
Active ingredients of ambientTV.NET:
Manu Luksch,Mukul Patel,Michael Uwemedimo,
Gavin Starks,Chris Helgren,Mariko Montpetit,Mo-Ling,
The ambientTV.NET space hosts studio facilities for digital video, web,and music production.
Areas of expertise are converging and hybrid media productions, film and radio,music,sound and light design.
The projects developed are more than 'media solutions' - they are social technologies,climate systems of
production and reception.
The studio is currently developing an interactive documentary (Virtual Borders ,a telematic theatre/dance performance
(flipflop ,and a net.art piece using encryption commissioned for Taiwan's first online exhibition at the Museum of Modern Art
(Stealth Waltz .Recent projects include the video and streaming media compilation for the Tate Modern talks programme 2000,
FM radio programmes on science and technology and music shows, and sound design for dance companies.
The ambient space is a hybrid production/broadcast/event space that looks out over the city from the top of
an ex-industrial building in Hackney.The space hosts a diverse range of events revolving around culture and new technologies,
including workshops, exhibitions, peformances, webcasts, concerts and DJ sessions, screenings, and lectures.
Pete Gomes <<||>> (((i)))
KAROSTA EPISODE 1
Pete Gomes is a film director and artist.His work and site mutantfilm.com broadens the palette
from 20th Century film language, Experimental and Expanded Cinema, to include the landscape of the internet,
wireless technologies, DVD, database narrative, artificial life, portable computers and GPS.
He explores writing, production, and distribution in the context of new cinematic forms, applying these to visions for
current and future cities, urban, suburban, and rural environments - exploring the possibilities of cinema for commuting,
AV environments and forms and applications for locative cinema.
He has shown work extensively in the UK and internationally, recently at Tate Modern,
Whitechapel Gallery,Gimpel Fils and the Institute of Contemporary Arts.He is currently working as Writer Director
on a new feature length project.
KAROSTA EPISODE 1
The word Karosta is Latvian for ' War Harbour'. The landscape in Karosta, Latvia consists of remnants of the Soviet
occupation and it's military and naval operations.When the Soviets departed in 1991,the population of this enclosed
militarized zone fell from 25,000 to a few thousand in a matter of days.
The rich history of the area and it's extarordinary environment of concrete towers, tunnels, bunkers and abandoned
military buildings are explored in this short science fiction drama.
Pete Gomes collaborative film Karosta stemmed from the International Workshop on Locative Media in Karosta, Latvia in 2003.
The workshop brought together artists, technologists, and thinkers exploring global positioning systems, mapping
technologies and location based experiments. Gomes worked alongside local young people and the arts centre K@2,
using specific locations in the area, combined with GPS technologies, to develop a story that forged a future
mythology about an area in great need of social and economic regeneration.
Casting members of a real local gang, the film tells the story of a gang in the future, navigating their world
using portable devices and coordinates, as they set out to retrieve the gang leader's brother from a capsule,
where he has been growing in sleep suspension for 15 years, situated inside the Restricted Zone.
The film was directed by Pete Gomes from his own scenario, shot by a
guest cinematographer and using a
Latvian/English/Russian translator, but with all specific dialogue
improvised and developed by the young novice
actors themselves and spoken entirely in Russian and Latvian.This
presentation consists of the first episode and other recent work.
Digital Guild ___!
The Digital Guild is a non-profit organisation committed to the
creative application of digital technology. The Centre operates as a
multi-disciplinary project providing resources for research,
development, and training, and is committed to the development of
excellence in and access to creative digital technologies.
‘Metaphor’, the Greek word from which the English term is derived,
means ‘to transfer’. A word that applies literally to one kind of object
or idea is applied by analogy to another. Thus a ray of sunshine cuts
the gloom (as if it were a knife);a ship courses the seas (its motion
likened to that of a greyhound);a man weasels out of his promise (as a
ferret-like animal wriggles through a small hole).
Complex Meta-4 is an interactive interface for individuals who wish
to communicate using digital media, generation 3 mobile phones, PDAs and
the internet within customised format.
New compression and data transfer technologies have contributed to
the popularity of streaming media on the internet and wireless
applications. Every week new sites spring up offering access to movies,
music and interactive games. As compression technologies improve and
fast internet connections become more accessible, demand for streaming
media has increased. However, the streaming media experience is dictated
within a passive mediated environment, i.e. banner ads and no
possibility of personalising your own presentation.
The Complex Meta-4 project will use media skins as the interface for
the customised interactive environment. Media skins are an interactive
interface independent of the browser, which can also be positioned
dynamically by the viewer on their desktop.
We intend to create a digital space, for immediate distribution of
individuals ’work’, e.g. If a participant wishes to promote a short
film they could upload a short video clip, text and an image to their
personalised media skin from their G3 phone, PDA or the internet. This
would enable them to represent themselves within a customised
The media skin will be a small compact environment for each
participant. This will give the viewer as many skins on their desktop as
there are participants uploading their media. In turn the viewer will
automatically make connections between one media skin and another.
The participants will create the ‘complexity ’ of the project, the viewer the ‘metaphor’.
Hi8us work on professional collaborations with young people and
digital media - film, web, photography - and we have recently completed
an 18 month digital media project with young people in the Leaside area
Centring around four housing estates where we have produced a number of
successful films and web projects.
Hi8us track record since 1994 covers a unique range of participatory
training projects in digital media with socially excluded young people.
We have developed innovative projects with young people training
alongside professionals to create dramas (six for Channel 4, one for
Carlton) which pioneered a new genre of TV fiction.
The projects involved a wide range of communities with something to
express: Protestant East Belfast, African Caribbean Coventry, young
offenders on Hull Prison’s D wing, homeless people in Manchester and
young Asians in Birmingham. Produced through processes of improvisation,
shot on participants’ streets and performed by the young people, they
are distinguished by their sense of place, unheard voices and First-hand
experiences. Young people also worked as trainees on production.
Nightshift, transmitted by Channel 4 in February 2000, was awarded joint
of Best Drama in the CRE’s Race in the Media Awards. This followed
Royal Television Society Awards for Best Dramas for Blazed in 1996, and
The Visit in 1998.
We have also established Hi8us First Light in May 2001 as a
subsidiary company, to manage the Film Council’s £1 million scheme to
develop film-making by 8-18 yr olds. L8r, an interactive drama project
for the Teenage Pregnancy Unit and DKTV, and E-Drama, supported by
funding from NESTA, Media 2 and the BBC, have been developed using the
web as a drama-making tool for young people.
Over the last three years we have developed Inclusion Through Media
in the regions, a programme of work with excluded communities using
media as a tool for expression and regeneration. The programme has
included projects with young men in Coventry, Mexborough and Barnsley,
young homeless people in Birmingham, young people with learning
disabilities, and young prisoners in HMYOI Huntercombe. Our most recent
project, Bow by Blow, was developed following the BAFTA nominated
Hi8us/APT production of Skin Deep in 2001 shot in the Crossways estate.
This 18 month programme supported by Leaside Regeneration enabled HI8us
to work in partnership with the local community to develop a series of
film, video and web projects with young people across the Bow/Poplar
area of Tower Hamlets.
To create a pilot for an interactive mapping project on the web
created for young people to engage creatively with questions of
territory, environment, identity and the Olympics. In the geographical
area of the Olympic Bid - the Lower Lea Valley.
With the Olympic architecture tendering process underway for the
Lower Lea Valley, our project aims to engage with the potential
implications of this extraordinary event for the local youth community.
This major initiative, if successful, will undoubtedly transform the
physical, economic, cultural and social map of the local area. Some of
these changes are predictable, others entirely unpredictable, but there
is no doubt that an Olympic presence has the potential to change the
local ‘landscape’ in all dimensions and in a myriad of ways.
Low-fi &==|= [^_^] : ) : ( /````\
BUREAU OF INVERSE TECHNOLOGY
CORBY & BAILY
Low-fi is an artist run collective focusing on net art and
online mediation and distribution systems. We operate primarily through
our web site http://www.Low-fi.org.uk, curating and commissioning art projects on the internet. This is supplemented by a programme of online guest curation.
As a platform for net art, our main concern is with how online
projects are mediated and distributed, and the context drawn around
them. We aim to increase the visibility of net art by providing an
interface to a database of information about current net art projects
and by participating in debates and discussions. A further aim is to
build connections between art and tech contexts and to develop an
audience beyond the net art community. We are approaching this partly by
commissioning new net art projects which will be shown in art
institutions as well as existing online and partly by programming net
art projects within gallery and offline environments. We want to Find
more appropriate solutions for showing net art than resorting to lounges
of monitors, projected screens and exhibitions of ephemera.
Low-fi’s participation in DMZ is in two parts, where both elements
tackle the same question of how to show online net art projects within
an offline physical space. Firstly, we will be making a generative Node
Drawing’ which will develop over the duration of the event as visitors
contribute their ideas and views. Secondly, we will be curating four net
art projects all of which have some sort of offline component. These
will be interspersed within the DMZ programme and space.
The artists we will be working with are: Bureau of Inverse
Technology, Corby & Baily, Amy Cunningham, and Simon Faithfull. The
relationship between the online and offline elements in their work is
varied but the offline component is integral, providing a physical
reflection of the project.
AMY CUNNINGHAM - Delayed Dreaming
Delayed Dreaming is an installation and performance work, which uses
the specificity of web cast relay; the delay between the live and
encoded event which is approximately 30 seconds.
The performances will be relayed via a web camera, radio microphone
and computer using data video projection and amplified audio as a live
feedback loop. The choreography of the work is created by the
relationship between the live performance and the encoded image (which
is projected). The feedback loop allows each previous movement to be
seen and each previous voice to be heard, to create a delayed hall of
mirrors, both visual and acoustic.
Amy’s use of various media in conjunction with the voice creates a
valuable dialogue, between the ready-made and the hand-made, and between
opera and the everyday.
BUREAU OF INVERSE TECHNOLOGY (BIT) -
BIT - An information agency servicing the Information Age.
BIT Anti-Intelligence: Bureau of Inverse Technology launches the BIT Anti-Terror Line, New York and London November 2003.
BIT agents requisition the UPHONE for distributed data collection.
The UPHONE, currently in public testing (Limehouse UK/New York NY) is a
phone-in interface to the web. Designed for immediate sound-archiving,
this service enables any phone (home/mobile/booth) to act as a networked
microphone. For collecting live audio data on civil liberty
infringements and other distributed events.
Mobilising the pervasive network of private cellular phones, UPHONE
allows for discrete recording in locations where standard broadcast
equipment may be inadvisable or out of reach.
How it Works: You phone in and leave a message. Message can be a
spoken report, or live recording in event of an anti-terror attack.
Set PHONE TO AUTODIAL your national uphone number UK +44 207 987 0655 press 4 for antiterror or USA +1 212 998 3394.
The system will uplink your phone call in near-realtime to the BIT
online database: an audio accumulation of micro-incidents, archived,
marked and accumulating. Events that individually may be inactionable,
but en masse could provide evidence for a definitive response.
The BIT anti-terror database is a publicly readwriteable news
resource which can be monitored, annotated, syndicated or remixed for
SIMON FAITHFULL - 13 Messages
13 Messages will send 13 drawings by email over 13 days from London’s
A13 urban freeway. Starting at the Whitechapel one-way system, heading
east past Limehouse Townhall and on towards Barking, Simon will travel
down the dual carriageway making sketches on a palm-pilot as he goes.
The drawings will then be sent out to an open email list as ‘live’
dispatches from a wandering witness. The drawings made on these days
will later be developed into a short animated Film that has been
commissioned by Channel 4 and the Arts Council.
This service will be available from 10 - 22 of November 2003. To subscribe to this service please email: email@example.com.
Simon’s practice is very disparate ranging from melancholic
installations, hypnotic Films, and various drawing projects that use the
palm pilot as a low tech but flexible psychogeographer’s tool.
CORBY & BAILY - Reconnoitre
Reconnoitre is part of an ongoing series of works concerned with
their experience of the network as a bizarre_scape; an environment with a
high metabolism whose boundaries are continuously re-shaped, accreting
and thickening under the influence of powerful social and commercial
While Reconnoitre can be considered as a browser in that it allows
the user to search for and access websites, it is less concerned with
the coherent display of information than with representing browsing as a
Probably best described as a dysfunctional browser, it seeks to
enunciate our consumption of information as a journey of surprise, that
seeks to reinstate the pleasure of browsing as technologically
experienced dérive (drift) in its own right - an ambient grazing of
Low-fi - Node Drawing
Low-fi’s ‘node drawings’ are a way of representing our ongoing
interests in mediation and curation of net art. The drawing is a
collaborative process, which invites input on an idea we are currently
chewing over: it is a feedback system that grows as a set of unedited
networked ideas. For DMZ, our node drawing will be about taxonomy, about
what the terms and classiFications used in new media mean. These terms
are debated and are still malleable as criticism catches up with
practice. Hopefully the drawing will develop to include other
interpretations, sub-categories and new terms - what is ‘locative’, for
mervin Jarman ___! (((i)))
The Container project is a non-profit mobile access space to new
technology linking communities to their heritage and cultural backbone.
Having been in planning and development for more than 4 years, on 30
April 2003 Container opened its doors to the community of Palmers Cross,
Clarendon, Jamaica, and since then has been open daily providing access
and opportunities for all members of the community to learn about
computers, computing and digital creativity.
Container is a pioneering project in Jamaica in bringing artistic
activities together with information technology. The container has 15
workstations running four different operating systems (Windows, Mac 0S9,
Mac 0SX and Linux). The training methodology encourages people to
pursue their own interests and ambitions, calling upon the help of
colleagues and professionals as and when needed. Container offers the
opportunity to learn and produce using office applications, multimedia
and music, and also involves participants in day to day hardware and
operating system maintainence. All the equipment was donated from a
number of different organisations in the UK. Container is constituted as
a Friendly Benevolent Society and encourages all sections of the
community to take ownership and responsibility. Container is a truly
community-based IT project that provides people with otherwise very
little access to computers with a space for learning, experimentation
and creative work across all areas of digital arts.
mervin says:It’s about fostering the creative abilities of Jamaicans
and continuing to distribute our values like we have done in the UK over
the last 50 years. The UK and Europe needs to feed back its
technological skills into Jamaica to help sustain the culture clash that
is contemporary mongrel culture. At the moment there is very little
creative technology going on outside of the corporate landscape in
Jamaica even though this is one of the loudest cultural producers of the
last 40 years. We want to hot-wire Jamaica into the machine that will
make the Upsetters of the future.’ (quote from the website)
mervin Jarman is a digital artist who has trained, worked and taught
in London and internationally for more than 10 years. Palmers Cross is
his home town and Container is a realisation of his ambition and
committment to bringing his skills and experiences back to this very
The Container launch and its ongoing operation is being supported in
London via exchange programmes involving Media Art Projects, Commtech
and Mongrel. For DMZ mervin will be showing audio-visual documentation
of the Container, talking about its practices and introducing the
exchange programmes which, over the coming year, will bring Jamaican
guests to London and provide opportunities for London-based artists to
experience and contribute to the Container project.
Media Art Projects MAP ___! [^_^] /````\ <<||>>
Media Art Projects (MAP) is a micro agency for project management and
initiation in the area of culture, technology and research. MAP
collaborates widely with groups and individuals who may identify more or
less with art, independent media production, DIY technology, community
development and research into frameworks for cultural production, both
self-generated and institutionally based. MAP is particularly interested
in bringing people from different backgrounds and skills together for
projects over shared goals.
MAP tries to supply some of the support that established arts
organisations can offer (e.g. limited company status, VAT registration,
project management experience) without creaming off high overheads or
being subject to the programming constraints of bigger building based
organisations. The aim is to produce projects that are a genuine
partnership and whose development is steered by needs and wishes of the
participating artists and groups.
MAP’s major projects over the past two years have been Tech_2 - a
series of workshops and events that have taken place in three different
cities (Bristol, Leeds and Lancaster), and Map::London, a series of
collaborations with London-based artists, researchers and community
groups that investigate and engage with the politics of technology in
Tech_2 was much inspired by workshops/gatherings such as hybrid
workspace, Makrolab and the Acoustic Space labs that offer an
opportunity for real work to happen in a communal environment and with
some public interface. The collaborations were built around shared
interests and tasks that needed to be done.
In Bristol, 2001, with the Cube Cinema, a group of people around 15
national and international visitors gathered to share knowledge about
do-it-yourself, community run provision of internet services such as
hosting web pages, email addresses and mailing lists, collaborative
software and ‘open publishing’.
In Leeds, Tech-2 was based at Archway Resources Centre in Chapletown,
primarily an advice and information centre for young people with
housing problems, but which also incorporates a small IT training and
access suite. Supported by Pavilion, a visual arts and media agency in
Leeds that had a role in running the IT training, Tech_2 with artists
Carole Wright and Jason Skeet worked with a group of 9 members of the
centre over a period of one month and created short multimedia
presentations on the theme of ‘Black Presence In...’ The participants
also took on the programming and project management of a large-scale
closing event involving DJ’s, poets, dancers, musicians and grafFiti
artists that took place in the centre of Leeds in a performance space
attached to the City Library.
The third stage of Tech_2 was in Summer 2002, at the Folly Gallery in
Lancaster, a small visual arts space with darkrooms and some digital
production facilities. The title of the workshop was ‘grow your own
media lab’, reflecting the combination of a DIY ethos with an
environmental sensibility. Our aim was to build ‘zero cost’ network
access resources using donated hardware and Open Source/Free Software.
Redundant Technology Initiative, ShefField, Access to Recycled
Technology, Birmingham and a number of local groups created usable
resources now spread between their locations. In the third week of the
residency we organised a course in building small-scale renewable energy
systems. The results - our windmill, solar panels and wireless internet
system - temporarily joined the sculptures and installations in the
forest created by former artists in residence at Grizedale Arts.
The Map::London projects have been funded through a grant from Arts
Council London. MAP decided, with colleagues, that the goals of the
grant (to create opportunities for activity, visibility and development
of discussion) would be best served by close collaborations with artists
and other cultural producers that engaged communities in different
ways. Projects undertaken through this 3 year grant included ‘Rich_Mix’,
a multimedia workshop with young people and multimedia event, at Ocean,
Hackney, in collaboration with MongrelX (http://richmixatocean.org.uk),
‘Ourganisation’ in collaboration with Howard Slater and Josephine
Berry, You Have Been Watched in collaboration with artist Graham Bell
and residents of the Samuda Estate in the Isle of Dogs (full
documentation of all Map::London projects http://mediaartprojects.org.uk/).
PROJECT: MAP LOUNGE AT DMZ
For DMZ, MAP offers up refreshing aromatic teas and a relaxing
environment for discussions, planning and demonstrations. The space is
for all visitors to the event to use for their own purposes: read and
research on your own, arrange a meet with friends and colleagues, show
work to one another or discuss a specific issue. A VHS deck and online
computer will be available for ad-hoc demos. The lounge will also be a
living, accumulating library and archive with books, magazines and other
publications. Everyone is welcome to bring materials about their own
activities to add to this archive. A copier/scanner will be on hand for
you to leave or take away any materials you nd of interest. Look
at the blackboard for up to date announcements about whats happening at
Limehouse or use it to leave messages for your friends. This space
belongs to all at DMZ for networking, socialising, knowledge sharing and
preserving a trace of your own activities.
Mute <---> /````\ [==] <<||>>
The Mute Map,
You Are Here
Mute magazine was founded in 1994 by artists Simon Worthington and
Pauline van Mourik Broekman. The publication sought to discuss the
interrelationship of art and new technologies, which it did through a
mix of fiction, art works and theoretical essays. Together with the web
platform Metamute, the magazine now contributes more broadly to debates
on culture, politics and globalisation, covering issues from gene
patenting to software art, internet governance to hypertext poetry.
Mute’s editorial group expanded in 1996 and today includes editor
Josephine Berry, information politics editor Jamie King, and
contributing editors Hari Kunzru and Matthew Hyland. Since 2001, Mute’s
engagement with the critical discourse around new media inßuenced it to
change its approach to publishing.
Following a popular trend in this area of practice to make content,
tools and architectures freely accessible, it has launched two projects
which aim to share the tools and knowledge associated with its own
internal and external development with a broader group - from the casual
browser to the frequent contributor-participant and/or the
long-distance subscriber. These sister projects, Open Mute and You Are
Here, provide collaborative online tools and wireless networking
support, focusing both on the international practitioner community and,
much more locally, people working in the East End of London. If you want
to find out more about Mute’s history and recent development, go to the
two explanatory diagrams ‘Ceci n’est pas un magazine’ 1 & 2, both
of which are available as PDFs on Metamute.com and OpenMute.org.
THE MUTE MAP: THE SEMANTIC LIFE OF WEBS
Over the last ten years, enormous changes have occurred in the public
perception of the web at the level of its ‘surface’ (the screen,
interface, mobile device). In the mid-1990s, the HTML minimalism of
academics and scientists was the alpha and omega of internet design. The
homebrew heroics of enthusiasts (digital artists among them) may have
done much to show that HTML(hypertext mark-up language)’s simple,
instructive protocols could be bent to produce a multiplicity of
unpredictable ends, but it was essentially images, text, and hyperlinks
that shaped users’ experience, and the same elements which formed the
web producer’s toolkit.
Surfing around our present rich media environment, it’s easy to look
back at those days and imagine them to be far behind us. They are often
pictured as a structurally primitive first phase that was swiftly
superseded by the irrepressible innovatory drive that now offers us
personalised news digests, location specific content, communities of
labour and love; a panoply of ‘richer’, more ‘diverse’, and ‘efficient’
informational experiences. But as the urban data-consumer makes it his
business to inhabit an utterly seamless media environment, accessible
everywhere and on all platforms, it becomes ever harder to get a
critical distance on how the elusive good of information is generated,
along what paths it flows, and which logics and rule sets it obeys.
As music fanatics, media activists and critical net artists of
various hues know, one of those logics is the aggressive policy of
information privatisation that media companies and intellectual ‘content
castles’ have pursued under threat of digital proliferation. In the
face of this powerful force of enclosure, an equally powerful force has
come into being under watchwords like the ‘digital commons’ and ‘public
domain’. These centre on visions of shared, universally accessible,
digital resources of which the construction is transparent and the terms
of use set to protect the interests of individual creators and users,
rather than the predatory corporates who profiteer from their
What is perhaps less well known is that there is an equally powerful
force at play in the rearticulation of the internet’s operation along
so-called semantic lines. This project, usually described as the
Semantic Web, furthers the dreams of the World Wide Web’s ‘inventor’,
Tim Berners-Lee, to connect distributed data in a way that is meaningful
to both human beings and machines. The idea being that humans’ current
information environment has attained a scale so inhuman that it has
become unnavigable, and that any attempt to enlist the help of machinic
entities in its ‘legibility’ is hamstrung by its content and
architecture not being sufficiently meaningfully processible by them.
Hence, as we reach a critical stage of information-overload, where the
transparency and use-value of search engines is being universally
questioned, Semantic Web aims to integrate the interpretative domains of
human and machine in a more nuanced way.
The scientific, military and commercial sectors have greeted the
project as the next Internet Revolution. But in the context of this
emerging information paradigm of semantic description, their enthusiasm
may be part of the ‘problem’ rather than the ‘solution’. In its current
shape the Semantic Web project leaves much to be desired: its
developers’ faith in the linguistic description of all subject/object
relations (be it between human beings, objects, data-objects or network
structures) lends ‘Sem-Web’ a universalising tenor which borders on the
Orwellian. Although its descriptors are open and extensible, to be
inside this information web, to be meaningfully linkable, all component
parts have to be named, categorised and ‘ontologised’, which is how the
Sem-Web paradigm describes the operation of the primary rule sets to
which its component parts are submitted. The question is, of course, by
whom, according to which ontological system, and with which mechanisms
for contestation and change? Housed in the R&D hothouses of
university science departments, corporate and international,
state-backed collaborative efforts, it is easy to see whose
epistemological world will dominate.
Rather than worry, complain or sit back passively, a growing band of
independent coders, artists and thinkers is tackling the problematic
status of Sem-Web by contributing to its development instead. Building
on the aims of Free Software and the internet’s early utopian ethos of
free access, they ally their anti-hegemonic language game to sympathetic
missions for free hardware, free networks and free content.
Having a long-standing interest in cartographic forms for the
information society (see the ‘Metamap’ in Mute21), and featured London
coding communities’ work on semantic web technologies in the magazine
(see ‘The Semantic Web’, Mute25), Mute wanted to commit to and
participate in their crossover on a more practical level. Strands of
discussion on live mapping and critical cartography between members of
Mute, the French collective Bureau d’Etudes and artists group Twenteenth
Century at London’s Limehouse Town Hall brought a number of possible
collaborative projects into view - first, a Cartographic Congress, which
was organised in May-June 2003, then a Map of Contemporary Capitalism,
which is ongoing.
To test this, the Map of Contemporary Capitalism’s (McC) techniques,
Mute has commissioned a smaller software prototype from programmer Jo
Walsh - named the Mute Map.
Pirate TV <<||>>
Pirate TV is a non-profit, artist/activist run webcasting station
devoted to the dissemination of non-commercialized, free, artistic
expression. Created over four years ago by multimedia pioneers Coldcut,
SPC guru James Stevens and their friends, Pirate TV has developed into
the online equivalent of an independent television station, live
streaming audiovisual work and performances as well as current,
politically conscious global news items 24 hours a day, seven days a
week. Among the contributing groups are djs, musicians, visual artists,
activists, poets, performers and film and documentary makers, all united
in their dedication to retaining total artistic freedom.
DMZ Media Arts Festival will see Pirate TV presenting the very first
full screening of their dvd compilation of audio-visual works, collected
from the station’s live streaming crews worldwide.
Each artist or collective will introduce their contribution and
review the experience of spontaneous presentation of work through Pirate
TV to the internet. Presentations will be made in one of three ways.
Firstly artists will be actual and live in the venue. Secondly there
will be recorded interviews from the artists and activists that are away
on tour or filming, and unable to get to an internet connection.
Thirdly we will be joined by some of the contributors via live stream
from their home studios or other hastily rigged connections!
This will be viewable live at the event on the projection screen, and
of course in true pirate fashion, events will be captured, compressed
and streamed out as they happen via our website for others to view. We
hope to demonstrate the techniques of technological improvisation and
artistic spontaneity that we have learnt over four years of presenting
DIY underground entertainment and alternative news. We will also be
covering the presentations of other participants at DMZ and our internet
chatroom will be available throughout the event for global interaction
Our aim is to demonstrate a showcase model that represents the multi stranded and global diversity that is encompased by www.piratetv.net.
SPC <---> /````\ [==] (((i)))
- to instigate new collaborations and expose location
specific resources,identify emergent techniques and
introduce tactics that promote network development.
- identify requirements and provision for both technical
and conceptual requirements of artists and community
participants.SPC has evolved to its current
form in response to such demands from its subscribers
SPC is an organisation with unique experience in
the utilisation of social space and development of
appropriate cultural environments for exchange and
experiment.Our model practice,one of self help and
skills sharing,is successful at sustaining where
commercial and institutional interests are either shy
Our current areas of activity are tuned to emergent
data freenetworks,POD (print on demand) publishing
and access TV mechanisms where the open sourcing
of information at every level has transformed the commercial
and cultural landscape and the granulation of
services approaches a scale that presents us all with
an opportunity to participate in production,inform and
entertain ourselves,be the media.
Consume,three different ways of active involvement,
interference and experiment within a digital media
zone.Further details you ’ find on this site ’ :
http://dmz.spc.org (under construction).
In collaboration with Frequency Clock, r a d i o q u a l i a
Blink is a direct access media channel (public
access net TV)where both the selection of programs
and the authorship of the channel are in the hands of
the viewer/listener.Any web-based live or archive
streaming mediafile can be conformed to a single
channel presentation aperture (web page,FM or cable
delivery).We are using the Frequency Clock,an open
source project by Radioqualia.Any user can visit the
system online and establish a channel of their own
upload mediafiles and list URLs to streamingfiles
from anywhere on the web.
Own.spc.org is a print on demand (POD)project currently in gestation
but which has already toured as part of the Art For Networks exhibition.It
is a web interface to a PDF editor,the template for which is currently
being set to print on a galley press at Millennium
Press. It prints doublesided colour 310mm by any length.These
first editions of OWN (1260mm x 310mm) will be folded like a map
with user defined editorial content one side and mapping detail
e.g.wireless access points and semantic detail the other. The beta
site is now up and running, please check in and make a zine of your
http://consume.net holds the UK’s definitive national record of WiFi
advocacy and open wireless network access points. Over 3000 nodes
sharing internet resources and in regular communication. Community
networking in urban and rural areas in particular has opened the door to
DIY broadband access on an unprecedented scale across the country.
Freenetworkers, community action groups and small businesses are
collaborating to inform each other of the issues and help each other
build ‘user owned and run’ network infrastructure at low costs that
present a real challenge to commercial providers and incumbent telcos.
for ongoing log of workshop activity.
THOMSON & CRAIGHEAD [^_^] <<||>>
SHORT FILMS ABOUT FLYING
DOT COM STORE
Jon Thomson and Alison Craighead are artists based in London working
primarily with video, sound and electronic networked space to create
gallery and site-specific artworks and installations. They have
exhibited widely both nationally and internationally.
Much of Jon and Alison’s gallery and web-based works to date follow
the artistic traditions of Appropriation and Manipulation while
exploring ways in which New Technologies & Electronic Global
Communications Networks are changing the way we perceive the world
Recent solo exhibitions include a presentation of their major new
work, Short Films about Flying for Mobile Home Gallery in London, and a
mini-survey of three recent installations at V2 in Rotterdam. Recent
participation in group exhibitions and special commissions include
010101: Art in Technological Times, San Francisco Museum of Modern Art;
Art & Money Online, Tate Britain; Beuro Friedrich, Berlin; Game-show
at the Massachusetts Museum of Modern Art; Re:mote at The Photographers
Gallery, London; BananaRAM in Ancona, Italy and Mobile Phonics at z33,
Jon and Alison have also recently launched their
online shop, www.dot-store.com and are currently
developing new works for e-2 in London having just
completed an installation called,Weather Gauge for
the Bitparts exhibition commissioned by FACT in
SHORT FILMS ABOUT FLYING
Short Films about Flying is a networked installation
in which an open edition of unique cinematic works are
automatically generated in real-time from existing data
found on the world-wide web.
Each 'movie' (replete with opening titles and end
credits)combines a live video feed from Logan Airport
in Boston with randomly loaded net radio sourced from
elsewhere in the world.As this relatively good quality
video stream is taken from an existing commercial
website where its visitors are able to remote control the
camera,each 'movie' is 'shot' and 'paced' by its own
(albeit unsuspecting)camera person.Additionally,text
grabbed from a variety of online message boards is
periodically inserted,appearing like cinematic inter-
titles when viewed in combination with all the other
components.The result is a coherent yet evocative
combination of elements that produce an endlessly
mutating edition of low-tech mini-movies that we call,
Dot-store is an attempt to utilise an e-shop environment as a context within which a series of artworks can
be delivered both on-and off-line.Since Autumn 2002,
dot-store has been producing and selling a range of
low cost 'vintage' products that reference both the history of the world wide web and the popular explosion
of mobile communications in the 1990s.
Dot-store is particularly interested in drawing attention to the blurring of public and private spaces online,
and in the increasing overlap between personal testimony and corporate interest.