angelachristinalopez

jan svankmajer

2012-02-09T12:52:00.000-05:00

JAN SVANKMAJER

object as performer article that made me laugh

2012-02-09T12:43:00.000-05:00

http://culturebot.net/2012/02/12461/object-as-performer-at-cpr/

Hofesh Shechter

2012-02-08T16:06:00.000-05:00

from mxm and sang blu

2012-02-08T16:05:00.000-05:00

from dirty flaws

2012-02-08T16:02:00.000-05:00

from haut macabre

2012-02-08T15:58:00.000-05:00

from twisted lamb

2012-02-07T03:40:00.000-05:00

tsz

2012-02-06T18:19:00.000-05:00

yes, i am a girly girl

2012-02-06T14:40:00.002-05:00

claude cahun que me veux te 1928 and others

2012-02-06T14:38:00.000-05:00

2 claude cahun que me veux te 1928

nice round things

2012-02-06T14:36:00.001-05:00

things to remember

2012-02-06T14:33:00.002-05:00

pinar yolaca

2011-08-30T22:07:00.000-04:00

awesome : http://iheartphotograph.blogspot.com/2011/08/pinar-yolacan.html

from twistedlamb

2011-08-30T22:00:00.002-04:00

METAMORPHOSIS from Oliver Rust on Vimeo.

2011-08-08T22:40:00.001-04:00

yeah im not on here much . . .

Lucinda Childs. . . Go Katie!

2011-05-09T01:47:00.001-04:00

forom sang blue

Dance DANCE

2011-05-09T01:43:00.001-04:00

EREVOS AETHER'S GAPING VOID from KONSTANTINOS MENELAOU on Vimeo.

FROM TWISTEDLAMB

facebook has taken over my life

2011-04-03T00:08:00.002-04:00

it's so useful!

Lior - I'll Forget You (feat. Sia)

2011-03-15T22:36:00.000-04:00

BOOBS

2011-02-27T18:10:00.002-05:00

OVER THE TOP MAKE-UP

2011-02-20T23:29:00.000-05:00

i know i know...its a bit too much

Performance at Diablo

2011-02-20T23:28:00.000-05:00

All photos by Leslie Fineberg

music: datsik : boom
bass nectar : basshead

Sexay :)

2011-02-20T15:20:00.000-05:00

from sang bleu blog maxime buechi

i love joy devision

POLLUTION HAS DRIVEN EVOLUTION!

2011-02-17T21:47:00.001-05:00

Toxic Avengers: Pollution Drove Fish Evolution

yay for chris peck

2011-02-16T20:49:00.002-05:00

Survive Cycle (excerpt) music composed & performed by Chris Peck from Deke Weaver on Vimeo.

from sang blue

2011-02-13T12:00:00.000-05:00

23 skidoo (or 23 skiddoo) may refer to:

* 23 skidoo (phrase), an American slang phrase from the 1920s
* 23 Skidoo (band), a British post-punk, ethnic fusion and industrial music band
* 23 Skidoo (film), a 1964 short experimental film by Julian Biggs
* 23 Skidoo (poem), A 1912 poem from Aleister Crowley’s Book of Lies

Lia Rodriguez

2011-02-11T14:45:00.002-05:00

DISNEYWORLD LIKE THE VATICAN

2011-02-09T23:34:00.002-05:00

-from seth

Oyster Herpes

2011-02-09T23:02:00.000-05:00

The Freegan Establishment: Buffalo

2011-02-09T12:23:00.002-05:00

What a great article :)

2011-02-09T09:53:00.000-05:00

The Artist Who's Out to Liberate Facebook: A Q&A With Profile Thief Paolo Cirio
By Ben Davis

Courtesy Paulo Cirio
Artist Paulo Cirio

When we heard that artists Paolo Cirio and Alessandro Ludovico were claiming to have stolen data and photos from a million Facebook profiles, uploading them to a fake dating site called lovely‐faces.com as part of an art project highlighting concerns about online privacy, we did what any other journalist in the social-media age would do — we looked Cirio up on Facebook, where his public profile offers up a surprising amount of useful data. In addition to revealing that he describes his work as "sculpting information flow," and that he is interested in women, it also offers the artist's personal email, Skype name, and cell phone number. So we gave him a ring.

ARTINFO deputy editor Ben Davis spoke to Cirio, who was in the midst of the hubbub of Berlin's technology-and-politics-themed Transmediale Festival, where the installation component of "Face to Facebook" — as the Facebook-stealing stunt is called — is making its debut.

My first question is, how real is the project? Since you can't see the Web site right now, it's hard to be certain how much of it is authentic, and how much of it is just a hypothetical proposition.

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It's completely real. After the CNN article we got high traffic on the Web site, so I had to call the service provider. In the next half hour you should try again, because they promised me that they'd bring back the Web site. There are millions of people at this moment who are trying to see if they're in our dating Web site. As you can imagine, this was an art project, so it was not prepared to have millions of queries in the database. But I just called the provider now, and they promised me that it would be back up soon.

So you really stole a million Facebook profiles?

Yes. It took me a while — actually two years — to do this project. One year was mainly about downloading the profiles. Actually it was a script, a [piece of] software, that did it. It was just automatically running through the profiles. Every public profile has eight public friends, so for each of the eight, I just did a loop. So it was running by itself, and then I downloaded everything. The one million are from everywhere in the world. There are Chinese, Japanese, Indonesians, South Africans — I tried to cover the world.

Why did you chose Facebook as a target?

Facebook at the moment is the hottest company in the world, so for me it was really important how, once again, an Internet company could be vulnerable in its business and its technology. However, the project is not really about Facebook, I would say. There are many issues about Facebook. But for me it was about researching data and the power of information and seeing how a single entity, Facebook — a single, private entity — can hold 500 million profiles from all over the world, and obtain all this data. For me it was about research into this issue. It could have been another company. This was just about the power that these companies have. I don't know if you saw the two former projects: One is about Google, and the other is about Amazon. We look at the biggest companies, and this issue of power, information, of monopoly of information that should be managed in a different way.

But if I understand your artist statement correctly, the project is specifically critical of how people present themselves on Facebook, and also you have some language that suggests that you are attempting to undermine Facebook's business model by making people not want to post their personal information.

Yes. If you are speaking about Facebook you are speaking about the user, because what actually makes Facebook is the users. You have to speak about the user — that's the point. But the project is not against the user. It's a provocation, of course — I mean, we got all these public profiles. It's all data that you can find also on Google, you know. It's just a conceptual hack, a conceptual interface.

But is the point to make people not want to use Facebook?

It's really hard not to use Facebook. I consider technology in general, and also Facebook, a neutral thing that may drive all sorts of change. The problem is that Facebook should be regulated. It shouldn't be a private company owned by one person. That is completely undemocratic, and that's completely unethical and immoral. That's for certain. The project is a way of pointing this out. We should be regulating Facebook, and making it a tool that could be used properly — not like it is now.

Have you heard anything from the company? I know in the past you've faced "cease-and-desist" letters from former targets like Google.

No, at the moment they haven't contacted us. If you read the piece on Wired, the journalist called Facebook, and Facebook said that it would look at our case. I don't know what is going on in the next hour. At the moment, we're just dealing with journalists.

What has the public response been? The initial media coverage seemed to miss the point about the project's critical intent. Some people must have been angry. Have you heard from any of the specific people whose data you stole?

Yes, there are many people who are angry, because they are scared to be inside a database. They say, "If I'm inside the database, I will sue you." On the other hand, there have been many, many positive comments, people who say, "Wow, you did it, you've done a great thing, an amazing thing." Of course it's controversial. It's a provocation. As usual, some people say, "You're not an artist, you're just a motherfucker." And others get it, and say, "You're a genius." It's always like that. People are different. But still, even with the people who are angry, they will use Facebook differently from now on.

I found your data on Facebook. Isn't it ironic that you post your own personal information when your project is a critique of putting your personal information on Facebook?

Again, I am not telling people to boycott Facebook, because Facebook is a tool. You can use tools in a good way or a bad way. This is true of everything. It's like a knife. You can kill someone with a knife, or you can cut bread with it. Facebook is just like that. It's just that it should be regulated. I am not saying that Facebook is useless — but it's really dangerous. People should be aware how to use Facebook. I am not posting personal things on Facebook, for example, just using it for promoting my work or keeping in touch with people who work with me. But I am not posting sensitive data, because I know the danger behind this tool. It's like giving a knife to a kid: It's dangerous, because the kid doesn't know what it means to have a knife in their hand.

MILTON BABBITT

2011-02-09T02:36:00.000-05:00

BLACK N GREY

2011-02-09T00:09:00.000-05:00

GIVE EM FACE

2011-02-09T00:01:00.000-05:00

GREG KADEL

2011-02-08T23:54:00.000-05:00

2011-02-08T23:49:00.002-05:00

BiLL ConGer

http://www.facebook.com/album.php?aid=269924&id=685410956&l=c7621bd97a

2011-02-05T15:53:00.002-05:00

Amy Karle biofeed into Sandin IP in-house studio test

http://www.yuimanakazato.com/pg211.html

2011-02-05T15:52:00.001-05:00

Naomi J. Falk: Breath(e)

2011-02-04T20:43:00.000-05:00

Beauty in Monotony

2011-02-04T20:38:00.004-05:00

monotonous motion

2011-02-04T20:24:00.000-05:00

soap works

I love these "paintings"

2011-02-04T20:20:00.000-05:00

Leif Ritchey

I love this sculptor/ photographer

2011-02-04T20:07:00.000-05:00

anthony pearson

nice screen/ effect

2011-02-04T20:05:00.002-05:00

UNKLE - The Runaway from UNKLE on Vimeo.

and some of this too sexyness dancing too

2011-02-02T16:29:00.001-05:00

I want to use this in my work notes in the whine (working title), love the falling down shots

2011-02-02T16:21:00.000-05:00

Tom waits can dance like none other, i want to make this into my own choreography...

2011-02-02T16:20:00.001-05:00

I am really happy right now. I hope you are too. I just looked around the room and thought WOW, I am so damn lucky.

2011-01-31T02:18:00.001-05:00

There are a lot of typos and grammer issues but too late oh well...

2011-01-28T12:02:00.002-05:00

    The career I envision as a professional is one that enables me to make a significant impact in my community through performance. As a dancer I'd like to first pay attention to why we are performing, and generally the purpose of dancing. Dance in performance has a special way of communicating abstractions through a process of translation, embodiment and ultimate physicalization. It converts the essence those abstractions into the physically concrete, and allows individuals to make visceral the relationship of our surroundings to our physical selves. With that said, the material of dance is inclusive of anything in relation to one's body. For me ,the material of dance even includes science by way of emerging technologies and electronics.

    In my work, I endeavor to bring into focus the importance of the sciences in the arts. It seems all too often that dance and science are regarded as opposite ends of a spectrum. Though the connections between science and dance are not as obvious as a dancer's connection to music, I do find that technology, specifically electronics, has played a major role in expanding the dance genre. Emerging technologies in particular have had an increasing effect on how contemporary modes of performance are created and shared. In my studies and performances I seek to join dance and emerging technology in innovative ways.

    Last year I received an undergraduate research fellowship from the SUNY Research Foundation at Buffalo State. It allowed me to research the many ways that technology has been incorporated into dance performance over the past 30 years. With that information, I was then able to apply my interests in physics, technology and and electronics to dance. I learned the program MAX/MSP/Jitter (a graphical programming language) that enabled me to construct an interface to control both sound and projected light sources with a person's movements. In reprogramming a Wiimote, which houses a motion tracking/accelerometer device, the individual wielding the device was able to engage an immersive and interactive environment of their own design. This person also had the ability to use both improvisational and choreographed movements to stimulate a sonic and visual score in real-time. The movement information was tracked by the sensors within the Wiimote and translated into sound and light. The performance environment was efficient and entirely created by one point source – the performer.

    The reason for constructing this performance environment in my piece The Red Herring, stemmed from an interest to expand on the idea that a performer could interact with the performance space itself. In the past three years I've begun exploring the potential of a dance work to activate the performance venue as well as incorporate the viewer as collaborator in the choreographic process of a live event. Instead of limiting the viewing experience to a seated position, I looked into making the act of performing less passive. Questioning this audience/performer relationship has lead me into a deep exploration of what it means to compose a piece of concert dance.

    In recent history, live web broadcasting technology, social networking and vast user data bases such at the Youtube community have allowed a broader spectrum of individuals to become participants in the contemporary performance dialogue. With access to copious amounts of performance footage, the viewing experiences of dance in performance are less likely to be confined to the stage or traditional modes of performance presentation. This notion of a greater accessibility to concert dance via the vast open networks of cyberspace sparked my desire to create the immersive performance experience I've mentioned. With my work, I'd like to demystify the stage and enable the viewer to become an integral contributor to live dance works, where the final performative product includes the viewer and performer as one in the same. My recent works address the issue accessibility directly. Specifically it addresses the viewer's access to the performance process. The use of technology in my work serves as one of many possible solutions to bridging the gap between audience and performer. For me, combining these disparate fields illuminates the numerous ways that technology has impacted the collective performance landscape, bringing not only the dance community into this dialogue but the entire performance community into that conversation as well.

    I've also looked to bridge the spatial gap between audience and performer by breaking the the forth wall and making work that is site-specific. In my piece The Last White Elephant, I danced in a three foot wide alleyway on a heavily foot trafficked street. The audience watched from a narrow opening facing the side walk as I moved toward and eventually through them. In utilizing a space within a viewer's everyday landscape, I invite that person to situate their bodies in a less passive relationship to the performance. Moving dance outside of the theatre solicits discussions about whether or not any space can be considered appropriate for dance. For example, the act of taking away the viewer's chair can have a large impact on the way the viewer experiences a performance, hence spaces like a front lawn, fire escape, abandoned lot or grain elevator cause a stir. Considering site-specificity a major theme in my work, I then decided to imagine that the everyday performance landscape was not in fact a physical space at all but rather a virtual space. In a time of exponential technological growth, our collective landscape has increasingly become digitized and flattened within the dimensions of a computer. Therefore my latest work seeks to legitimize the computer as a site for dance performance.

    Notes in the Whine (working title) is a performance that exists entirely because of the parameters set by a computer program. This piece of choreography is seen in the form of a projected image. As the viewer stands in front of the image, their movements act as a conductor of the projected work. A sensor tracks the viewer's motion, clocking and recording their speed within the computer program. It then translates those ranges of speeds and numbers into a numeric score whose numbers trigger the live production of sound and video editing. The images projected are a series of short Youtube clips of various forms of dance. The clips are selected randomly and are cut, pasted, rearranged, layered, sped up or slowed down in accordance with the movement of the viewer in space.

    Seeing that advances in technology cater to our interest in unlimited connection and access to information, and that our social and cultural ties to technology will never cease to exist, I fully intend to continue delving deeper into the genre of technology in dance. In crafting the experience of life via virtual spaces like Facebook and Youtube, virtual reality strikes me as a major concern not only in art but in pop culture as a whole. Though a conceptualization, I feel compelled to address to address this topic through dance performance. As we craft our virtual identities via profiles, and portable personalized companion devices such as cell phones, we are responding to a growing relationship with a pervasive and new social and physical reality. By using technology to situate the viewer within the performance, I feel that my work has compared the social behaviors that we enact in our emerging technologies to the behaviors we enact as audience members and artists.

    After graduation I wish to continue working with a performance group I formed in 2009. The group is called Collective Collective. It is a small collaborative collective of artists and technicians that make work about contemporary environmental issues. The majority of my work will be subsumed under the Collective Collective title as I seek to promote the company's interests in the sciences and the arts. As a professional artist I will be looking to expand the repertoire of this group by creating new works for new venues. These multi-media, movement based, and site-specific performances will be submitted to various biennials, laboratories, festivals and exhibitions within the arts community. As one of the directors of Collective Collective my professional responsibilities to the company will be to make it an official not for profit. I also expect to spend much of my time writing grants to fund our collaborative works. Maintaining an up to date knowledge of emerging technologies and the use of dance in conjunction with technology is also a large part of my responsibility therefore the continual pursuit of information of programming platforms and advancements in electronics will be a never ending part of my professional career.

    Though I will be making work of my own, I plan to continue my participation in dance companies and other performance groups outside of Collective Collective. I have already had the pleasure of working with a number of dance, theatre, and experimental performance groups and I wish for that to continue.

    Lastly, I also intend to engage the community and community organizations in the conversation about art, science, and technology. I would like to create a forum and/or lesson plan for individuals struggling with issues such as the ability to see science and new media in terms of the bigger picture. I would like to consider incorporating my process for building art works into a lesson plan that helps others to get a handle on their own historicity in the context of modern science and technology. I have had success giving lecture demonstrations at both Hallwalls and Buffalo State. So I wish to eventually incorporate this type of community service work into the mission of the Collective Collective performance group.

    As a an artist, dancer, and choreographer working towards career longevity, I do suspect that one day I will attend graduate school for advanced studies in performance. Eventually I would one day like to be a professor of dance who focuses on media in the dance arts genre. In the interim I am building an extensive body of work to assist in the continuation of my academic and artistic pursuits.

2011-01-21T13:46:00.002-05:00

Brilliant

on twisted lamb...

2011-01-20T12:17:00.002-05:00

http://www.twistedlamb.com/2011/01/inkling.html

COUTE QUE COUTE: OAKAZINE Q&A ONLINE EDITORIAL »BARBARA I GONGINI« SHOT BY JULIE HELQUIST

2011-01-12T19:28:00.000-05:00

COUTE QUE COUTE: OAKAZINE Q&A ONLINE EDITORIAL »BARBARA I GONGINI« SHOT BY JULIE HELQUIST

COUTE QUE COUTE: VICE STYLE EDITORIAL »WHO’S AFRAID OF KATHY ACKER?« SHOT BY ELLIS SCOTT / STYLED BY MISCHA NOTCUTT

2011-01-07T19:11:00.000-05:00

COUTE QUE COUTE: VICE STYLE EDITORIAL »WHO’S AFRAID OF KATHY ACKER?« SHOT BY ELLIS SCOTT / STYLED BY MISCHA NOTCUTT

EMILY ROYSDON

2011-01-04T16:44:00.001-05:00

http://emilyroysdon.com/index.php?/projects/sense-and-sense/
SENSE AND SENSE

Great words for my brains...

2011-01-04T16:32:00.000-05:00

Sang Bleu

Absolute Joy

January 4, 2011

by Adrian Wilson

music, this and that

A greater joy each time I watch it.

Propped up on the mantelpiece
Throphies stuffed in a life that flies
A couple of seconds can be a long time
If’n it’s froze, if’n it’s froze
_______________________
Everybody lies
What’s the big deal?
It’s impossible to know what is and isn’t sealed
Faith is the lies we tell and tell ourselves
Life is the lies we tell everybody else
History is a daisy chain of lies
Humans love distortion
Public record is a poetic device
Blown way out of all proportion

happy recievers of my christmas cheer

2011-01-03T01:28:00.000-05:00

ninjas

2011-01-03T01:24:00.002-05:00

denise grunstein

2011-01-03T00:28:00.000-05:00

Yasuhiro Takeisha

2011-01-03T00:26:00.002-05:00

mike tysons old house...

2011-01-03T00:12:00.000-05:00

great to find these images online...

perty Maxime Büchi

2011-01-03T00:09:00.000-05:00

SOOO MUCH TO SEE AND THINK

2010-12-30T17:48:00.000-05:00

Letha Wilson

Emilie Halpern

Yan Deng

from iheartphotograph

Denise Grunstein

from the personal spaces // wiktor hansson in barbara gongini // wiktor diet

from dirtyflaws

JW Motion Mix Dance Dialogues: Theory and Criticism: Who or What is Postmodern?: Miguel Gutierrez and the Quest for Suitable Terminology (2008)

2010-12-30T17:41:00.000-05:00

JW Motion Mix Dance Dialogues: Theory and Criticism: Who or What is Postmodern?: Miguel Gutierrez and the Quest for Suitable Terminology (2008)

DID I MENTION HOW MUCH I LOVE...

2010-12-27T20:31:00.000-05:00

JOY DIVISION...

THINGS THAT I LIKE VERY MUCH THIS WEEK...

2010-12-27T20:28:00.000-05:00

TATTOOS MAKE ME HAPPY

2010-12-27T20:25:00.000-05:00

things that i've said ooooh ahhh to....

2010-12-27T20:24:00.000-05:00

alex's bunnies

2010-12-22T15:32:00.002-05:00

pretty little things aren't they?

2010-12-22T15:31:00.002-05:00

again this is what happens when i go out dancing!!!

2010-12-22T15:29:00.000-05:00

i especially enjoy seeing my coin-slot appear on social networks...at least i know it has friends

belgian blue

2010-12-22T15:27:00.000-05:00

scarification is cool

2010-12-22T15:26:00.000-05:00

genetic shirts

2010-12-22T15:24:00.002-05:00

i might wanna look like this...

2010-12-20T21:57:00.000-05:00

http://www.f-t.com.au/blog/in-minds-eye-autumnwinter-11-tran-seasonal-1/

BEAUTIFUL ALLEY!

2010-12-14T14:49:00.002-05:00

hyperbolic planes

2010-12-14T12:24:00.001-05:00

twisted goblins

2010-12-14T00:50:00.002-05:00

http://www.twistedlamb.com/2010/12/goblins.html

Love this look...from Dirty flaws

2010-12-08T09:55:00.002-05:00

http://www.dirtyflaws.com/2010/12/proportionality.html

love music soo much....

2010-12-06T15:18:00.002-05:00

my happiness...

2010-12-06T15:11:00.001-05:00

Barn Owl - Light from the Mesa from Thrill Jockey Records on Vimeo.

New Piece

2010-12-05T21:16:00.000-05:00

WHOA!

2010-12-05T20:27:00.001-05:00

Love these images...

2010-12-02T04:37:00.002-05:00

ignore that its fashion
http://www.touchpuppet.com/2010/09/23/guinevere-van-seenus-by-mario-sorrenti-nsfw/

GIRL

2010-12-01T02:24:00.001-05:00

Hijikata A Girl (part 1)
Uploaded by rhizomelee. - Arts and animation videos.

I LOVE TECH!

2010-12-01T02:22:00.002-05:00

ROBO SWAN

The craziest performance ever...and I'm in it!

2010-11-30T08:28:00.000-05:00

find it on facebook here and here

Justin Beiber just changed the game!

2010-11-30T08:24:00.002-05:00

yummy musics
http://gawker.com/5614579/how-to-make-justin-bieber-sound-incredible-slow-him-down-800-percent

mmmmmm mmmmmm

2010-11-29T01:23:00.002-05:00

http://vimeo.com/13517348

One Hundred and Eight – Animated Patterns from Nils Völker on Vimeo.

REBECCA HORN

2010-11-29T01:19:00.001-05:00

NELLY AGASSI

2010-11-29T01:14:00.000-05:00

JANINE ANTONI

2010-11-29T01:09:00.002-05:00

How i like my boys to look.....well how i like them to dress anyway...:)

2010-11-28T23:58:00.002-05:00

http://www.f-t.com.au/blog/ten-pieces-springsummer-201011/

madame peripetie

2010-11-27T02:33:00.002-05:00

http://www.madameperipetie.com/

MUDBOY

2010-11-26T21:44:00.001-05:00

http://www.mudboymusic.com/index2.html

COUTE QUE COUTE: »ANDROID DREAMS« SHOT BY GREKO SKLAVOUNOS FEAT. REBECCA VICTORIA / STYLED BY NOVA DANDO

2010-11-26T18:48:00.000-05:00

COUTE QUE COUTE: »ANDROID DREAMS« SHOT BY GREKO SKLAVOUNOS FEAT. REBECCA VICTORIA / STYLED BY NOVA DANDO

COUTE QUE COUTE: »DREAM SEQUENCE« SHOT BY MADAME PERIPETIE (SYLWANA ZYBURA)

2010-11-26T18:43:00.000-05:00

COUTE QUE COUTE: »DREAM SEQUENCE« SHOT BY MADAME PERIPETIE (SYLWANA ZYBURA)

Amazing work.

2010-11-21T17:29:00.001-05:00

I have been inspired!

http://butdoesitfloat.com/434490/Embrace-the-alien-within

The Soundscape: Soundcloud Group Track

2010-11-19T12:19:00.000-05:00

The Soundscape: Soundcloud Group Track: "This week's track from the Soundscape Soundcloud Group comes by way of an Argentinian living in New Zealand. Axel Shaw, who operates on Soun..."

2010-11-18T17:00:00.001-05:00

2010-11-18T16:59:00.002-05:00