Martin John Callanan is an artist researching an individual's place within systems.
Some of his more well-known artworks include: The Fundamental Units in collaboration with The National Physical Laboratory, Letters 2004-2006 published by Book Works, the ambient audio installation Sonification of You, the meta-news aggregator I Wanted to See All the News From Today and Text Trends, which abstracts the casual manner in which we receive, scan and process information and language on a daily basis, Wars During My Lifetime, International Directory of Fictitious Telephone Numbers and A Planetary Order (Terrestrial Cloud Globe).
Martin John Callanan’s artwork has been exhibited and published internationally, he has recently been awarded the prestigious Philip Leverhulme Prize for outstanding research within visual arts. Recent solo exhibiitons include Departure of All, Noshowspace; Martin John Callanan, Horrach Moya; Global, Casal Solleric; and Along Some Sympathetic Lines, Or Gallery. His work has been shown as part of Open Cube, White Cube; Es Baluard Modern and Contemporary Art Museum; Whitechapel Gallery; Ars Electronic Centre; ISEA; FutureEverything; Art Exchange; Riga Centre for New Media Culture; Whitstable Biennale; and Imperial War Museum North.
Martin John Callanan is an artist researching an individual's place within systems.
He is a recipient of the Philip Leverhulme Prize 2014-16 which is given to recognise outstanding young scholars who have made an internationally recognised contribution
Currently on research leave until October 2015.
Martin is based in both Print and Fine Art Media, teaching in the studios across BA/BFA & MA/MFA courses at the Slade School of Fine Art, specialising in everything electronic or digital.
A Planetary Order2014
Galerie Christian Ehrentraut, Berlin, Germany
A Planetary Order brings together three artists who, though working in very different media, all explore meta-narratives of time, landscape and systematic abstraction with a combination of sincerity and playfulness. The juxtaposition of painting, sculpture and new media works emphasises the conceptual concerns of the artists who also share a meticulous minimalist aesthetic. The works hover between seriousness and humour, the romantic and the rational, reduction and sublime scale, all within a dialogue which encompasses works made both with highly traditional means and the most current new media technology. The exhibition reflects a growing interest in a return to metaphysical themes, which though sincere, is not without critical distance and awareness of the comical. The exhibition found its name in Martin John Callanan’s A Planetary Order (Terrestrial Cloud Globe) a 3D printed globe which, sitting directly on the gallery floor, on close inspection reveals the cloud cover of one single moment in time. This inconspicuous piece is in fact an ambitious ‘physical visualisation of real-time scientific data’ taken from cloud monitoring satellites overseen by NASA and the European Space Agency. Callanan’s transformation of data into artworks which articulate both the enormity of interconnected global systems and our place within them, continues with his most recent work, Departure of All; a flight departure board displaying the flight information for every international airport around the world. Running in real time, the speed of global transit creates a dizzying account of single moments. Katie Paterson provides a counterpoint to this overwhelm with her imperceptibly slow work, As The World Turns; a record player which, rotating at the speed of the earth, plays Vivaldi’s Four Seasons audible through headphones to only the most attentive listener. As with Callanan, Paterson’s artwork occupies a space far greater than the actual work- activating an imaginative space which is both metaphysical and comic; the record player suggesting the turning earth which we are able to look down upon. Along the long wall of the gallery hangs Notes on The Sea, a (diptych in twelve parts) the series of twelve minimal photorealist paintings calmly depicts fog veiled seascapes as polarities of night and day. In this work the archetypal romantic image enters into a contradiction with itself as it becomes part of a system. Playing with notions of duration, mathematic abstraction, and the possibility of painting a beautiful landscape, Partridge’s attempt to rationalize the epitomised romantic landscape is both meditative and absurd.
Imperial War Museum North
How do artists contribute to our perceptions of war and conflict in an age where our understanding is shaped by the media and the internet? This autumn, in Manchester, IWM presents its first major exhibition of its national collection of contemporary art produced since the First Gulf War. IWM holds an unrivalled collection of twentieth and twenty-first century British art, including some of the most significant artists exploring war and conflict today. Explore the ways in which art can prompt us to think more deeply about current events, their immediate impact and their long-term implications. Hear from the artists themselves and discover what motivates people to create art about conflict. Featuring many new and recent acquisitions, Catalyst features over 70 works from this national collection on public display together for the first time. Explore photography, film, sculpture, oil paintings, prints and book works ranging from the highly moving to the humorous, philosophical or outraged. The exhibition includes work by Steve McQueen, kennardphillipps, Langlands & Bell, Miroslaw Balka, Willie Doherty, Paul Seawright, Ori Gersht, Jananne Al Ani and Edmund Clark.
Departure of All2013
Verstand und Gefühl, Landschaft und die Zeitgenössische Romantik2013
REASON & EMOTION / Landscape and the contemporary Romantic Hardly any epoch has been marked by so many misunderstandings and contradictions as the “sentimental” Romantic era, just as hardly any epoch has so shaped our northern European relationship between nature and the indiviual. On this basis the exhibition “Reason and Emotion” explores ideas and motifs derived from Romanticism in relation to the work of eleven contemporary artists. Characteristic of the Romanticism of the 19th Century is the shift of interest from reason to feeling, computation to intuition, objective observation to subjective perception. One aim of art at this time was the expression of the individual, the mediation of intense emotional states, particularly in relationship with a deep metaphysical connection to nature. However, the Romantic was not only heavenly and beautiful, it also included the delineation of subversive experiences. Artists such as Delacroix and Goya presented scenarios of unbridled emotions in all their horror. Caspar David Friedrich and William Turner recalled the power of nature to regain civilisation through dark images of ruinous decay. Predominantly, however, especially among the painters, was the presentation of immeasurably more uncivilised lands, whose idealised grandeur expressed the indissoluble relationship of man to nature. Awe-inspiring and frightening at the same time, the viewer is confronted with the question of his own position in the universe: the outer landscape serves as a metaphor for an inner experience. In the works shown in Springhornhof the Romantic pervades, however not as a revival of a set of motifs sentimentally salvaged from a glorious past, but incorporated in a variety of strategies of appropriation, continuation, critique and transformation. Today’s Romanticism is a Meta-Romantic showing not only melancholy and strong sensation, but also a distance, an awareness that manifests itself in ironic reflections. Thus, the participating artists play not only with the notion of romantic longing for nature-idyll, but also with the circumstances of this escapism. Behind the longing for the paradisiacal, the beautiful and fairy-tale, the abyss is just as present as the knowledge of the failure of utopias.
White Cube Mason's Yard
White Cube Mason's Yard presented 'Open Cube', an international group exhibition organised by São Paulo-based curator Adriano Pedrosa. Invited by the gallery to curate an exhibition, Pedrosa launched a process of open submission via Art Agenda in January 2013, under the title 'Call for entries: 'Open Cube' at White Cube Mason's Yard'. The only requirement was that the artist needed to be available for an interview in London with the curator, in March 2013. 'Open Cube' received over 2,900 applicants, of which Pedrosa interviewed 38 and selected a final group of 17 artists. Taking his cue from Brian O'Doherty's seminal book Inside the White Cube, the Ideology of the Gallery Space (1976), Pedrosa's exhibition challenged the identity of White Cube as an organisation, as a physical space and as a concept, questioning the complex relationships between existent notions of 'inside' and 'outside', value and economics. By opening up the curatorial selection process beyond his own networks and meeting with artists who were previously unknown to him, Pedrosa confronts what he perceives to be the standard gallery practice of seemingly closed systems that exist in the criteria for staging exhibitions. The works in the ground-floor gallery were concerned with the concept of the 'white cube' and the 'open cube' itself, of public and private spaces, as well as value and currency. The works in the lower ground-floor gallery presented different forms of abstraction - constructivist and geometric and also organic, amorphous, fluid types - yet many of these run counter to traditional modernist abstract idioms. The 17 artists included in this exhibition, from Bosnia and Herzegovina, Brazil, The Netherlands, Portugal, Ireland, UK and USA, had created work that seeks, as Pedrosa says, ‘to contest these national boundaries as well as the very identity of White Cube itself.’ In the accompanying catalogue, which includes transcripts of the interviews Pedrosa conducted with the 17 selected artists, he suggests that the 'Open Cube' is a transparent cube and sets out to reveal what goes on behind the gallery doors. Pedrosa is himself interviewed by Pablo Leon de la Barra, in order to expose his own methods and the motivations behind this exhibition. The publication is fully illustrated and will be available in September 2013. Artists: Matt Ager was born in 1985 in England and lives and works in London. He recently completed a residency at Skowhegan School in Maine, USA and is currently part of the postgraduate programme at the Royal Academy Schools in London. Recent exhibitions include 'Classic Poncho', The China Shop, Oxford (2013); 'A Nod', Space in Between, London (2012); 'OVERTHIN', Gallery Primo Alonso, London (2011) and 'DUMBO Arts Festival', Brooklyn, USA (2010). Adriano Amaral was born in 1982 in Brazil and lives and works in London. He is currently studying for an MA in Sculpture at the Royal College of Art, London. Recent exhibitions include 'WIP Show', Royal College of Art, London (2013); 'Embaixo da Terra o Cèu de Novo', Transversal Gallery, São Paulo (2012); 'Solo Objects', Arco Madrid (2012) and 'Nova Escultura Brasileira', Caixa Cultural, Rio de Janeiro (2011). Frank Ammerlaan was born in 1979 in Sassenheim, The Netherlands and lives and works in London. He holds a BA in Fine Art from Gerrit Rietveld Art Academy, Amsterdam and an MFA in Painting from the Royal College of Art, London (2012). Awards include the Land Securities studio award, Degre
Along Some Sympathetic Lines2013
The Or Gallery is pleased to present Along Some Sympathetic Lines, an exhibition at Or Gallery Berlin of artwork by London-based artist Martin John Callanan, and an archive project by curator Liz Bruchet. The exhibition considers the poetic possibilities of data and its documentation, and the tenuous process of making meaning. Martin John Callanan is an artist researching an individual’s place within systems. Callanan generates and reworks photographs, letters and electronic data into evidence of exchanges – between the individual, the institution and the networks of power that intertwine them. The exhibition presents four of the artist’s series: The Fundamental Units, the result of amassing millions of pixels of data, to photographs, in microscopic detail far beyond the capacity of the human eye, the lowest monetary unit of each of the 166 active currencies of world, only to enlarge and print them to vast scale; Wars During My Lifetime, an evolving newspaper listing of every war fought during the course of the artist’s life; Grounds, an ongoing photographic archive which charts ‘important places’ in the world where security restrictions limit the image to the carpeted, tiled or concrete floors; and Letters 2004-2006, Callanan’s correspondence with various heads of states and religious leaders which implicate them in conversations that question their very rationale of their authority. These acts of excavating, accumulating and visualising data draw out the sympathetic aspects within documentation and in so doing, mark and disrupt the underlying power dynamics. A second gallery features an archive project by London-based curator Liz Bruchet. The display of ephemera from the personal archive of the curator’s grandfather, a Canadian insurance salesman and aspiring radio presenter, takes its inspiration from a found audio recording – part monologue, part autobiography, and part radio show – made in 1974. Harnessing the impulses of the collector, archivist and biographer, the curator reasserts her role as custodian and caretaker to nurture narratives and give weight to the subjective remnants of one man’s life. In Kooperation mit der Botschaft von Kanada/In collaboration with the Embassy of Canada
Make the Living Look Dead2012
A selection of visual documentation taken of the installation Make the Living Look Dead as part of the touring exhibition Again, A Time Machine at Spike Island, Bristol. Photographs by Stuart Whipps.
Centro Cultural de España en Guatemala, La Ciudad de Guatemala
Participan: A-153167 (Anibal Lopez), David Brooks, Martin John Callanan, Nemanja Cvijanovic, Detext, Caleb Larsen, Liz Magic Laser, Julien Previeux, Daniel Seiple & Kunst Re-Publik, Katarina Sevic, Santiago Sierra, Nedko Solakov, Nikola Uzunovski y otros. Curaduría: Raúl Martínez y Marco Antonini Entendiendo el arte como otra forma de intercambio, esta exposición explora los procesos invisibles, errores de cálculo deliberados y verdades encubiertas del modelo de producción capitalista. En un momento en que este discurso parece incuestionable, Transacciones ahonda precisamente en las contradicciones y fisuras de nuestro modelo económico, convirtiéndolas en un espacio de trabajo y lucha política. Los artistas incluidos en esta muestra cuestionan la “lógica” que gobierna los procesos económicos, exponiendo los límites legales y éticos del actual modelo neoliberal a través de lagunas legales y vacíos institucionales. Conscientes de las dificultades de evadir las estructuras económicas, muchos de ellos las adoptan como su hábitat natural y campo de batalla. Transactions, Centro Cultural de España en Guatemala, La Ciudad de Guatemala
Martin John Callanan (Birmingham, UK, 1982) defines itself as "an artist and researcher who explores notions of citizenship in a globally connected world." His work is based on a methodical collection of data, both in their immediate environment as information flows circulating in the global computer networks. Setting up automated processes or meticulously hand, Callanan creates works in which individual experience is with global awareness, and the file becomes the only possible way to interact with the world. Documents as text, sound or image gather by the hundreds or thousands in pieces that play with the saturation of information while providing a critical minimum for their understanding. Through a high fragmentation, the everyday reality becomes a Weltanschauung, the vision of the world from the perspective of a single individual. Complex while visually austere, Martin Callanan's work reflects the patterns of daily experience hyper-citizen, anchored in its specific geographical location at the same time participating in a globalized world, seeking to understand the full complexity information from a fragmented and incessant. GLOBAL, Martin Callanan's proposal for the Base Area Solleric Casal, brings together some of his recent works about the pursuit of this overall understanding of the world we live in a relentless pursuit and always failed. With this proposal, the resident artist in CRIDA (Center Artists Residency and Exchange), opens a reading of this underground space as a base for exploration, a field in which to find the roots of contemporary urban reality.
The London Open2012
This exhibition showcases the most dynamic work being made in London in 2012. Take a journey through a selection of the latest art trends and see potential stars of the future amongst 35 artists chosen by a panel of international artists, curators and collectors. Political and social subject matter is a theme in many works. The show features artists using performance and DIY approaches to making work whilst others investigate kitsch, outsider art and countercultural groups. The exhibition includes Arnaud Desjardin’s live printing press, Leigh Clarke’s negative casts of masks of political figures often worn during demonstrations, Nicholas Cobb’s photographs showing fictitious model riot scenes at Bluewater shopping centre and Pio Abad’s work featuring Saddam Hussein’s gold taps printed on an imitation Versace silk scarf. The London Open includes work in a diverse range of media from painting, sculpture, film, textile and photography to installation and performance. It includes Paul Westcombe’s intricate illustrations on takeaway coffee cups, Alice Channer’s body-based sculptures, Lucienne Cole’s pop culture-inspired performances and Martin John Callanan’s conceptual works, such as International Directory of Fictitious Telephone Numbers (2012). The London Open is a chance to see some of today’s most innovative artists. The Whitechapel Gallery’s open submission exhibitions have shown artists including Grayson Perry, Bob & Roberta Smith and Rachel Whiteread early in their careers. Artists: Pio Abad, Peter Abrahams, Caroline Achaintre, Greta Alfaro, Sol Archer, Thomas Ball, Martin John Callanan, Dale Carney, Paul Carter, Alice Channer, Leigh Clarke, Nicholas Cobb, Lucienne Cole, Beth Collar, Chris Coombes, Shona Davies, Jon Klein & Dave Monaghan, Arnaud Desjardin, Sarah Dobai, Shaun Doyle and Mally Mallinson, Ana Genoves, Mark Harris, Emma Holmes, John Hughes, Nikolai Ishchuk, Robert Orchardson, Heather Phillipson, Ruth Proctor, Amikam Toren, Charlie Tweed, Roy Voss, Paul Westcombe and Rehana Zaman. Selectors: Patricia Bickers, editor of Art Monthly; artist Rodney Graham; collector Jack Kirkland; curator Marta Kuzma; and Whitechapel Gallery curator Kirsty Ogg.
Make the Living Look Dead2012
Again, A Time Machine is a fluid, touring exhibition conceived by Book Works as a way of addressing its own archive of over 25 years of projects and its unique commissioning structure and history. Working in collaboration with Eastside Projects, Birmingham; Motto Berlin; The Showroom, London; Spike Island, Bristol; White Columns, New York; and SPACE London, Book Works has commissioned new work, alongside archival work, published new artists’ books, generated ephemera, and organised a series of events that ranged from exploratory readings and improvised dialogues, to nights of spoken word and provocative ritual. For Make the Living Look Dead, a selection of artists that Book Works has worked with over 30 years were invited to make a new work on A4 paper as a contribution, intervention or fictionalisation for our archive. Each work plays with notions of time, and exposes the fragility of coherence inherent in the archive. Contributions range from original discarded material to found objects or fictionalised letters, as well as new work masquerading as past proposals or future projections of sequels, panegyrics or unfinished work. It is shown alongside a showreel of images drawn from our archive and complied by Karen Di Franco, and a selection of sound recordings complied by James Brook.
The Present is a Point Just Past2012
Stephen Lawrence Gallery, London
Horrach Moya Gallery, Palma de Mallorca, Spain
According to elementary economic theory, specialization allows for the efficient use of economic resources. As slightly more advanced theory handbooks point out however, it also increases the costs of conducting transactions. Should you decide to buy an artwork (e.g. at this exhibition), in addition to the price tag, you would have to consider the effort of finding accurate information, traveling to the gallery and negotiating with the dealer, as well as the costs of transporting, hanging and storing it. All these expenses beyond the works' nominal value are known as transaction costs and may be important when assessing a transaction. Most economic theories, however, surprisingly consider them negligible, and in order to simplify their analyses, assume they are zero. Beyond such examples, transaction costs certainly play an important role in today’s hyper-specialized economy. Hardly measurable –in some cases, deliberately ignored or concealed- they nevertheless affect the millions of economic exchanges taking place every second and can create a considerable lapse between the economists’ representation of the world and our experience. Featuring works that deal with daily exchange processes or delve into the transactional dynamics of today’s global economy, this exhibition examines precisely such assumptions and flawed hypotheses, as well as the inherent limitations of the capitalist economic model. But rather than simply challenging economists’ fallacies, it explores the political and poetical possibilities of this gap. Co-opting institutional structures and exploiting loopholes in regulation, the artists featured in the exhibition reveal the absurd economic logic governing everyday operations as well as the ethical and legal boundaries of today’s neo-liberal model. Aware of the difficulties of escaping it, the artists presented in this exhibition adopt them as their own natural habitat and political battleground. Such is the case of Liz Magic Laser’s Chase and Daniel Seiple & Kunst Re-publik’s Landreform Carousel, who turn symbols of affluence and commerce into unlikely theaters and circus attractions, or Katarina Sevic’s Social Motions, which uses codified forms of social interaction to re-establish the significance of a human presence in today’s dehumanized corporate structures. In what seems to edge on the grotesque, Santiago Sierra and Nedko Solakov repeatedly stage simple transactions to expose capitalism's underside. Engaging different networks of bureacracy, artists like Martin John Callanan or Julien Previeux, use the semi-automated processes habitual in government and corporate bureaucracy to produce their works. While others, like Nemanja Cvijanovic or Detext subvert the expectations of cultural bureaucrats to reveal these systems' shortsighted logic and to question the role of institutional structures in the production and distribution of art. The free market’s alleged efficiency and uncontrollable appetite is echoed in Caleb Larsen’s non-descript, networked black cube, a sculpture that permanently tries (and often manages) to sell itself on EBay. Concerned with less conventional systems of communication and transportation, Nikola Uzunovski pillages an archive of letters sent to Santa Claus to conduct a statistical study of the children's wishes and map the influence of consumerism on them, while David Brooks and Aníbal López (A-153167) follow the routes of illegal smuggling to examine the legal and ethical boundaries of
Several Interruptions: 15 Years of the Slade Centre for Electronic Media in Fine Art2011
North Lodge, Gower Street, UCL
Seven, sequential solo presentations to celebrate 15 years of the Slade Centre for Electronic Media in Fine Art in 2011. One work exhibited: 'Each Long Second' 2006, (880 x 850 cms, A0 photocopies, tape) a double-sided paper representation of the imagined flow of internet information, made to be endlessly manipulated and re-configured to produce different three dimensional maps/representations of virtual space.
Es Baluard Modern and Contemporary Art Museum, Spain
Inside the immense flow of data exchange, the new technologies have facilitated an interdependency between the spheres of what is private and what is public, between interior and exterior, leading us to reveal, in an increasingly natural manner, our experiences, thoughts and feelings, enlarging the circle of intimacy to the point of sharing our inner life with the invisible, abstract audience of Internet users. Things personal become collective, things belonging to others become our own and intimacy is no longer something that is preserved and kept in our innermost circles, but something that is projected in all directions in an eccentric movement. Thus intimacy turns into extimacy, to use the term created by Jacques Lacan to define the existence, within the most intimate sphere of the I, of a “foreign body”, that which is external to the individual and with which one identifies. We need to share our intimacy because what we are is defined both by our subjectivity and by what surrounds us. In the realm of digital art, several artists have worked with the new parameters of subject, body, interpersonal relationship and intimacy introduced by the new technologies. Their works enable us to initiate a reflection on the ways in which the mobile phone, e-mails, chats, social networks and instant messaging systems modify, increase or condition our communication with others. They also allow us to consider where the boundaries of our personal space lie, where our “I” ends and that of others begins. “Extimacy. Art, intimacy and technology” is a group digital art exhibition which puts forward a proposal that spectators reflect on these concepts through the presentation of works by recognised artists from the international scene. Interactive installations, mainly, that involve spectators in what is active participation with the work, which never ceases to be a piece with its own identity, the fruit of the firm artistic background of creators who combine art and technology in their work. In an era in which the user adopts an active role in the diffusion and manipulation of information on the global network (known as web 2.0), in art, too, a change in roles between spectator and work is taking place, with interactive art as the best expression of this new paradigm. The works of some great names from this sphere, such as Christa Sommerer and Laurent Mignonneau, Rafael Lozano-Hemmer or Paul Sermon, for instance, are combined with the creations of promising artists like Gazira Babeli, Clara Boj and Diego Díaz, Gregory Chatonsky, Carlo Zanni or Martin John Callanan. All of them exhibit the multiple facets a concept as complex and at the same time as simple as extimacy can present, from different angles and with diverse intentions.
Inca, Mallorca, Spain
The MINI Museum of XXI Century Arts2011
Büro BDP, Berlin, Germany
Es Baluard Modern and Contemporary Art Museum, Spain
Live 2011 Grand Prix2011
Es Baluard Modern and Contemporary Art Museum, Spain
A Selection of The Web Biennial Revealing The Poetics and Politics of Net Art 20 January – 20 March 2011 Internet has contributed to the transformation and spreading of new forms of art, provided boundless creating, exhibiting and consuming opportunities. Regeneration.011, in this context, is presenting works that deal with freedom of speech and anti-war activism as well as revealing the political and poetical aspects of contemporary net art. Plato Art Space, by this project, aims to draw attention to net art which gained considerable importance in the recent years as an alternative space for contemporary art.
I Wanted to See All of the News From Today, Live 2011 Grand Prix, (Honorary mention for best online project)2010
Pin board project2010
Pin Board project
The Pin board project opens with Martin John Callanan. It is an attractive exhibit that makes so much sense right now. and it is so clear and frank and simple and has such a nice taste. This exhibit has no rubbish in it – it doesn’t have anything at all really. It is okay. We know it’s okay because Martin told us. We hope the work in this show will leave you alone more or less and only grab your mind. which is okay. But no experiences. we hate experiences in art. We prefer to experience things in real life.
ISEA2010 RUHR Ausstellung2010
Museum für Kunst und Kulturgeschichte, Dortmund, Germany
With works by: Siegrun Appelt (at), Lucas Bambozzi (br), Aram Bartholl (de), BCL (at/jp), Natalie Bewernitz & Marek Goldowski (de), Daniel Bisig (ch) & Tatsuo Unemi (jp), Juliana Borinski (br/de), Martin John Callanan (gb), Işıl Eğrikavuk (tk), Verena Friedrich (de), Terike Haapoja (fi), Aernoudt Jacobs (be), Márton András Juhász & Gergely Kovács & Melinda Matúz & Barbara Sterk (hu), Yunchul Kim (kr), Thomas Köner (de), Mariana Manhães (br), Soichiro Mihara & Kazuki Saita & Hiroko Mugibayashi (jp), Krists Pudzens (lv), Christopher Salter (qc/ca), Bill Seaman (us), Sašo Sedlaček (si), Mark Shepard (us), Charles Stankievech (qc/ca), Vladimir Todorovic (rs/sg), Bruno Vianna (br), Ei Wada (jp), Herwig Weiser (at), You Must Relax (ee), Norah Zuniga Shaw (us) More than thirty international artists and artist groups urge visitors to the exhibition into new perspectives on environmental issues, questions of identity and discussions about the ever-present social-media. What does a human hair sound like? Which sight will capture your imagination? Who sets the rules in the digital world?
I Wanted to See All of the News From Today, Screengrab 20102010
James Cook University, Australia
The cultural diversity of the works on show is indicative of the Screengrab exhibition’s primary goal, which is to critique screen culture via the very medium which makes the exhibition possible. Publicity for the award, the selection of the media works and the acquisition of the shortlisted entries is all conducted exclusively from screen to screen via digital media networks around the world.
11 FILE - festival internacional de linguagem eletrônica, Brazil2010
Media Art shows how to "soften" the rigidity of technology functionality and to create an environment of creativity and artistic thinking.
ROOM Gallery, London
How We Became Metadata2010
Westminster University (Regents Street), London
“The Rhizome of the City” project represents aesthetization of the digital shaping of the spatial network of the cultural identity of the city of Belgrade. Authors and participants of the project explore and display the urban identity through subjective comprehension of the city structure. By creating the individual sense of space at particular cultural points in Belgrade, the artists transform the urban landscapes into the set of artistic, esthetic, psychological, political and geographic differences and upload them onto the virtual map of the world – Google Earth. They form a database – a cultural form as the list of entries, which refer to a certain phenomenon (cultural points of the city of Belgrade) without the determined narrative. The term rhizome was taken from the theory of rhizome proposed by philosophers Gilles Deleuze and Félix Guattari. The rhizome is a model of displaying and representing world, spatial network, and the multitude of dots which are interconnected, where everything can be connected to anything else. The rhizome excludes the central point, the centre, hierarchical structure and is a metaphor for ambiguity, spatial expansion and expansion of meaning. The symbol of the city is the more complex symbol which provides greater ability to express the tensions between the geometric combination of rationality and interaction of human life. Taking these starting points into account, the authors of “The Rhizome of the City” project consider the concept of space founded in different types of individual and collective experiences. The “geometric space” differs from the other spatiality, which is defined by Merleau-Ponty as the “anthropological space”. In this way we arrive at the concept of the cognitive mapping by Frederic Jameson. This cognitive mapping is not based on imitating and reflecting reality. The cognitive cartography aesthetics is the way by means of which the social self-cognition is inscribed, the individual relationship towards the local, national, and international reality. Such an attitude represents a certain type of experience in relation to the world, possibility of our own inscription and coping with articulating subjectivity within mental psychogeographic map of the world. Artists collect the data from cultural points of the city of Belgrade (museums, galleries, monuments, and other cultural features of the city) in the form of the GPS paths and motion, photos, audio and video material. The collected data are uploaded onto the Google Earth database (information-geographic program, that is, the virtual globe, map), which is available to the entire population by means of the Internet. Mapping of the artists' motion (GPS, video, audio and photo documentation) on the Google Earth represents the database which highlights the presence of an artist in space and represents the centre of the mutual and common creative process of different individuals. By moving through a certain space in the determined time interval various shapes are formed based on the crossed paths. The shapes, which are formed, are a representation of different ideas, notions and concepts which are contextualized and represented by certain symbols, audio, video and photo contents. The meaning of the collected data is conditioned by aesthetic, psychological, geographic, sociological, political characteristics of space, on which these new contents are created.
I Wanted to See All of the News From Today, How We Became Metadata2010
University of Westminster
Martin John Callanan, Corby & Baily and Jonathan Mackenzie, Eunju Han, Eduardo Kac, susan pui san lok, Ruth Maclennan and Uriel Orlow, and Thomson and Craighead What is Metadata? As the exhibition outlines, it is data about data, information about information. It facilitates the retrieval, use, and mis-use of data, information, and knowledge. It is at the heart of our age: it underpins, drives, and shapes information economies, societal networks, search engines, communication technologies, systems of knowledge, websites, online images, maps, archives, catalogues and indexes, stock markets, and especially capitalism, commerce, and consumption. It is the structure, the organizing principle, the ecology that governs us. Metadata shapes experience – through data, information, knowledge. It shapes our sense of privacy, identity, security, civic-ness, labour, sharing, peer to peer-ness, being together, and being itself even. It shapes who we are and what we are. In the past, we used to shape data and information. Now it’s shaping us. It trawls through our searches, monitors our buying habits, its GPS systems tracking us, its cookies shadowing us, tagging us, accumulating data and information along the way, for its own sake, for purposes ominous or as yet unanticipated, even earning capital off the back of our labour as we manage our Facebook sites, all the while accumulating, number-crunching, processing, and then offering our desires back to us. Threefold. Buying a book on Amazon? ‘Customers who bought items in your Recent History also bought…’ In this exhibition the artists locate and challenge the logic, the status, and the nature of data, information, and knowledge. By way of the informational (Callanan), the communicable (Han), the environmental/ecological (Corby & Baily and Mackenzie), the bio-cultural (Kac), the searchable (Thomson and Craighead), the historical (lok), and the archival as itself a mechanical super-structure of data (Maclennan and Orlow), they find new and unique languages to articulate visually and poetically how such systems and networks of data/information/knowledge that constitute and are constituted by metadata might be brought to light, questioned, and, perhaps most pressingly, how they might be disrupted. ‘How We Became Metadata’ is a political and ethical move in that direction: it is a move to highlight the creation, organization, presentation, and control of data and metadata, and, even more so, to interrupt the rhythm of such insidious logic.
Location of I, The World in 100 Years, Ars Electronica2010
Ars Electronica, Linz, Austria
The new exhibition in the Ars Electronica Center Linz pays tribute to the creativity, courage and inventiveness of those men and women who have totally committed their energies, abilities and knowledge to a vision of the future. This exhibition surveys a 200-year time span: looking back at what people about a century ago anticipated for this day and age, and showcasing what contemporary thinkers foresee 100 years from now. As proxies standing for all the visionaries and trailblazers who have worked on their respective „futures“ over the course of humankind‘s history, French writer, illustrator and caricaturist Albert Robida (1848–1926) and Belgian visionary Paul Otlet (1868–1944) occupy this exhibition‘s spotlight.
FutureEverything 2010, Manchester, UK
A Planetary Order (Terrestrial Cloud Globe), Serendipity City, FutureEverything 20102010
FutureEverything, Manchester, UK
The FutureEverything 2010 main exhibition, featuring architecture-inspired art, a curated selection of city-drifting iPhone and Android apps, jaw-dropping data visualisations and a selection of FutureEverything 2010 Award nominees. The venue is The Hive (47 Lever Street, Manchester M1 1FN), a spanking new Northern Quarter location. All FutureEverything 2010 art exhibitions and events are FREE to attend.
Web Biennial 102010
Istanbul Contemporary Art Museum
File Prix Lux (award finalist)2010
Teatro do SESI – São Paulo
n 2010, FILE launches FILE PRIX LUX, an international prize for professionals in the area of electronic-digital languages. This is an unprecedented initiative in Latin America that values the art of the XXI century viable for the first time by Santander through the Lei Rouanet de incentivo à Cultura. This initiative was conceived to complement FILE's actions in the area of electronic and digital languages, with the intent of rewarding, motivating and stimulating the emergence of new talents. FILE intends with FILE PRIX LUX, besides the exhibition and presentation of works, to add value to such manifestations, conferring to the awarded artists a national and international impact.
FutureEverything - Serendipity City2010
The FutureEverything 2010 main exhibition, featuring architecture-inspired art, a curated selection of city-drifting iPhone and Android apps, jaw-dropping data visualisations and a selection of FutureEverything 2010 Award nominees.
The World in 100 Years2010
Ars Electronica Centre, Linz, Austria
he new exhibition in the Ars Electronica Center Linz pays tribute to the creativity, courage and inventiveness of those men and women who have totally committed their energies, abilities and knowledge to a vision of the future. This exhibition surveys a 200-year time span: looking back at what people about a century ago anticipated for this day and age, and showcasing what contemporary thinkers foresee 100 years from now. As proxies standing for all the visionaries and trailblazers who have worked on their respective „futures“ over the course of humankind‘s history, French writer, illustrator and caricaturist Albert Robida (1848–1926) and Belgian visionary Paul Otlet (1868–1944) occupy this exhibition‘s spotlight.
How We Became Metadata2010
Gallery, Westminster University,Regents Street, London
What is Metadata? As the exhibition outlines, it is data about data, information about information. It facilitates the retrieval, use, and mis-use of data, information, and knowledge. It is at the heart of our age: it underpins, drives, and shapes information economies, societal networks, search engines, communication technologies, systems of knowledge, websites, online images, maps, archives, catalogues and indexes, stock markets, and especially capitalism, commerce, and consumption. It is the structure, the organizing principle, the ecology that governs us. Metadata shapes experience – through data, information, knowledge. It shapes our sense of privacy, identity, security, civic-ness, labour, sharing, peer to peer-ness, being together, and being itself even. It shapes who we are and what we are. In the past, we used to shape data and information. Now it’s shaping us. It trawls through our searches, monitors our buying habits, its GPS systems tracking us, its cookies shadowing us, tagging us, accumulating data and information along the way, for its own sake, for purposes ominous or as yet unanticipated, even earning capital off the back of our labour as we manage our Facebook sites, all the while accumulating, number-crunching, processing, and then offering our desires back to us. Threefold. Buying a book on Amazon? ‘Customers who bought items in your Recent History also bought…’ In this exhibition the artists locate and challenge the logic, the status, and the nature of data, information, and knowledge. By way of the informational (Callanan), the communicable (Han), the environmental/ecological (Corby & Baily and Mackenzie), the bio-cultural (Kac), the searchable (Thomson and Craighead), the historical (lok), and the archival as itself a mechanical super-structure of data (Maclennan and Orlow), they find new and unique languages to articulate visually and poetically how such systems and networks of data/information/knowledge that constitute and are constituted by metadata might be brought to light, questioned, and, perhaps most pressingly, how they might be disrupted. ‘How We Became Metadata’ is a political and ethical move in that direction: it is a move to highlight the creation, organization, presentation, and control of data and metadata, and, even more so, to interrupt the rhythm of such insidious logic.
A Planetary Order (Terrestrial Cloud Globe)2009
Richard Hamblyn, writer in residence, and Martin John Callanan, artist-in-residence, held a joint launch for a new book and work of art linked by the theme of clouds. Martin John Callanan created A Planetary Order, a terrestrial globe showing clouds around the planet from one single moment in time. Callanan’s A Planetary Order examines the fragility and interdependence of the Earth’s environmental systems. The data to make the globe came from satellites overseen by NASA and the European Space Agency. Callanan then turned the raw data into a 3D computer model with the help of the UCL Slade Centre for Electronic Media in Fine Art. It was printed at the Digital Manufacturing Centre at the UCL Bartlett Faculty of the Built Environment. Writer in Residence Book Launch Richard Hamblyn’s book Extraordinary Clouds is a celebration of unusual cloud formations and atmospheric phenomena. Some of the most spectacular images in Hamblyn’s book came from The Cloud Appreciation Society, a 17,000-strong group of cloudspotters. Extraordinary Clouds is available from all good bookshops and A Planetary Order will go on display at UCL’s Pearson Building later this summer. Discover the amazing and unexpected world of clouds with this inspiring collection of images. Richard Hamblyn offers a selection of some of the most startling and unusual cloud formations, from the uniform streaks of 'cloud streets' to the odd bulbous 'lenticularis' that are commonly mistaken for UFOs. Each amazing photograph will be accompanied by Hamblyn's entertaining and informative explanation of how the cloud was formed and the conditions in which a similar one might occur. The images chosen use satellite photography of clouds from above as well as ground-based pictures and the collection demonstrates the most unexpected and seemingly impossible patterns that can be created by the natural cycles of the weather. Hamblyn has already written several books on the subject, including The Invention of Clouds, which won the LA Times Book Prize, and a pictorial guide to cloud formations called The Cloud Book. Extraordinary Clouds grew out of his research for the latter as he amassed a collection of images that did not fit into any standard category, such as the uniform streaks of ‘street clouds’ and the bulbous ‘lenticularis’ sometimes mistaken for UFOs.
Space is the Place2009
ISEA 2009, National College of Art and Design, Dublin, Ireland
An exhibition of the documentation of artistic practices, which intervene in public space. The exhibition will focus on ephemeral practices, which have not been officially sanctioned and which are mediated in some fashion through digital networks.
FILE 2009 (Electronic Language International Festival)2009
Rio de Janeiro
Hobart : Plimsoll Gallery, Tasmanian School of Art,
Jyväskylä Art Museum, Finland
IDFA DocLab 20082008
Netaudio London 20082008
Netaudio’08 took place from 22nd to 25th October 2008 at Shunt Lounge, London SE1. It celebrated the creative output of networked musicians and online communities with installations, workshops, showcases and performances. Netaudio’08 plaid host to a broad range of live musical acts from the IDM of Lackluster and the digital dub of Disrupt to the raucous sounds of emerging talent A.R.E. Weapons. There was live techno and house from Berlin and djs from across Europe and the UK playing everything from esoteric ambience to minimal techno and back via a headlining set from man of the moment: Appleblim. The only criteria here is that they sound good and that they engage via the medium of the Internet. Within the market side of the festival you could lay your hands on the latest gadgets, kit and software with everything from digital DJ tools to fully fledged audio production software. As a modern day equivalent of a fun fair, the Netaudio Market also featured a number of interactive installations and stalls allowing you to have a taste of what’s on offer by experimenting with numerous sound and internet tools as well as simply enjoying one of the professionals demonstrations. Full listings and special events are still live. Keep yourself in the loop about future activities by subscribing to our blog-feed or newsletter and join us on one of the featured social websites. Netaudio’08 is funded by the Arts Council England through Grants for the Arts and by Shunt. Cenatus Music Projects gratefully acknowledges financial support from the PRS Foundation. The Netaudio Festival is based on a Swiss concept, first showcased in 2005 in Berne. Netaudio’08 is supported by the Swiss Cultural Fund in Britain.
Urban Screens Melbourne2008
ABPP loan exhibition2008
AKI Enschede, The Netherlands
Moscow International Film Festival2008
Live Art Falmouth2008
More than 70 international, national, regional, and student artists from University College Falmouth will contribute to this year's live art platform. Artists include Alex Hetherington, a new media artist and writer who has been awarded commissions by Channel 4 and MESH and creates work that references leading contemporary performance companies The Wooster Group and Goat Island; Lynn Lu, who was awarded the Singapore National Arts Council International Touring Grants in 2007 and the National Arts Council Emerging Artist Grant for her work in 2006 and Charlotte Eatock, a professional contemporary dancer and choreographer, also experimenting with film and photography. Claire Blundell Jones, Dorte Strehlow and Christiane Obermayr, Evangelia Basdekis, gilbertandgrape, Jeff Cloke and Mike McInerney, John Dummett, Jon Fawcett, Katherine Hymer, Kathy Rose, Ken Turner and Jane Whitaker, Misha Horacek, Nathan Walker, People in Pieces, Rachel Parry, Rupert White, Stephen Cornford and Matthew Appleby, Tom Marshman, and Vana Gacina. Guest artist Richard Layzell will present ‘Key Notes', a work first performed at this year's National Review of Live Art (NRLA) in Glasgow. His work encompasses many approaches to art production and audience. In 1989 he adopted the persona of a self-promoting businessman for several weeks, and gained a lot of media attention. He's been called "one of the best artists working in Britain today" and has worked extensively in galleries, museums, the street, and recently as an artist in industry, in the role of 'visionaire'. There will also be a special launch event of 'Cream Pages', the brand new publication by Tania Koswycz and Richard Layzell, incorporating a live dialogue specifically created for LAF08, which encompasses five years of debate, discourse, disagreement and dynamism.
FILE Electronic Language International Festival, São Paulo, Brazil2008
São Paulo, Brazil
Trampoline Year 102007
Broadway, Nottingham, UK
Velocity, Folly Festival of Digital Culture2007
Ginza Art Laboratory, Japan
Dana Centre Science Museum London
8th Pixxelpoint festival2007
Nova Gorica, Slovenia
Bury Art Gallery, Bury, UK
Radio Tower Xchange2007
UNESCO Virtual Residency2007
Sao Paulo, Brazil
ArtConcept Festival, Saint-Petersburg, Russia2006
7th Seoul Film Festival2006
Paraflows 06 Festival2006
Concordia University Electroacoustics 2005-2006 Series XXIV2006
Concordia University, Canada
SightSonic, York International Digital Arts Festival2006
Memefest 2006 - International Festival of Radical Communication2006
For the fifth year now, the organizers of Memefest, a "festival of radical communication," are encouraging students, professionals, artists and activists alike to contribute their talents to our collective counter-culture. emefest departs from the principle that there is too much talent and knowledge being wasted in marketing communication, and other "mind-altering" media practices that spread negative infectious ideas. However, it believes that there is hope. Together, we can explore how ideas are and can be created and spread, replicating themselves in a manner akin to viruses. These disseminated ideas are called memes . The goal that Memefest sets out for its participants is to generate and replicate more positive and beneficial ones. Memefest proudly provides a public space where beneficial memes are fostered, nurtured, and rewarded. Last year, sociology and communication students responded to Douglas Rushkoff's Nowhere to Hide , which examines the subversive attempts of advertisers to convince even, and especially, the most cynical and angry of consumers, and visual artists to The People's Communication Charter , the "manifesto" that demands we right the wrongs of media and technological violence. We received almost 500 submissions (our greatest number to date, and one we hope to top this year!) from 36 countries in every continent in the world. Memefest 2006 asks sociology and communications students to discuss Richard Barbrook's The High-Tech Gift Economy , which discusses the co-existence of market and gift economies on the net and poignantly argues that utopian anarcho-communism, within such an environment, is dead. Memefest also asks visual art and design students to respond to The Declaration Towards a Global Ethic , a call to the raising of a universal "spiritual" consciousness as a long-term solution to the economic, social and political crises in the world.
March 2012SITE Santa Fe
'Art and The Internet' is a visual survey of art influenced by, situated on and taking on the subject of the internet over the last two and a half decades.The book examines the legacy of the internet on art, and surveys how artists and institutions are using it and why. The publication reproduces documentation of my works 'Citizens of Spam (Part 1)' (2003-4), a 16 metre digital print featuring over 2,000 computer-generated 'Spam’ pseudo-names, and 'Citizens of Spam (Part 2)' (2003 - ongoing), an endless cycle of magazine portraits with cut-out 'smiley faces'.
A Planetary Order brings together three artists who, though working in very different media, all explore meta-narratives of time, landscape and systematic abstraction with a combination of sincerity and playfulness. The juxtaposition of painting, sculpture and new media works emphasises the conceptual concerns of the artists who also share a meticulous minimalist aesthetic. The works hover between seriousness and humour, the romantic and the rational, reduction and sublime scale, all within a dialogue which encompasses works made both with highly traditional means and the most current new media technology. The exhibition reflects a growing interest in a return to metaphysical themes, which though sincere, is not without critical distance and awareness of the comical.
A newspaper listing all wars fought during my lifetime
In recent years, future climate change has increasingly been recognized as one of the most important issues of the twenty-first century, challenging the very structure of our global society. No longer just an abstruse scientific concern, it prompts difficult choices for both individuals and governments. Moreover, it is of the first importance to those working in disciplines such as climatology, engineering, economics, sociology, geopolitics, local politics, law, and global health. Emanating from across the social and natural sciences, as well as in the humanities, serious scholarship on future climate change flourishes now as it has never done before, and this new title in the Routledge series, Critical Concepts in the Environment, meets the need for an authoritative reference work to make sense of a vast literature – and the continuing explosion in research output. Edited by leading scholars in the field, this new Routledge Major Work is a four-volume collection of foundational and cutting-edge contributions. The first volume (Science) in the collection deals with the development of the science of global warming and climate change, starting with Tyndall (1861), through to the IPCC synthesis (2007), and ending with the very latest research. Volume two (Impact Assessments), meanwhile, assembles the best thinking on how the potential physical, biological, social-political, and economic impacts of climate change are assessed. This volume also includes material on potential surprises that science is starting to investigate, such as the rapid melting of the Greenland and Western Antarctic ice sheets, die back of the Amazon rainforest, release of gas hydrates, and other tipping points. The third volume (Politics and Solutions) gathers the most influential research on climate-change solutions; it encompasses global and local politics, engineering, renewable energy, and geoengineering. The final volume in the collection (Framing the Debate) brings together key scholarship to question and explore how the climate-change debate has been framed and reframed as a scientific, economic, security, health, development, geopolitical, ethical, and cultural issue. With comprehensive introductions to each volume, newly written by the editors, which place the collected material in its historical and intellectual context, Future Climate Change is an essential collection destined to be welcomed as a vital research resource by all scholars and students of the subject.
The Slade defines itself as a research-orientated institution with an emphasis on experiment and investigation, the outcome of which need not conform to the constraints of any pre-existing model. This is especially the case at graduate level, exemplified in the results from six separate weeks of concentrated activity by clusters of students electing to work under the respective umbrellas of specific research themes: speed, light, time, colour, scale and space. Each concept was chosen as specific to fundamental concerns recurrently addressed by visual artists, yet broad enough to allow for approaches deploying a variety of methodologies and reflecting a range of interests. For this purpose, by relocating from a normal studio environment to the more spacious provision of the Slade Research Centre at Woburn Square, and from the individualism of personally-centred practices to a more collective endeavour and shared discourse, the prospects for extending the limits of the subject (Fine Art) as a whole were potentially enhanced. Each of the over-arching themes was further inflected by talks and demonstrations from both Slade staff and external contributors (such as Dominic Tinley or the cognitive neuro-scientist Dan Glaser from the Wellcome Institute), where there was an identifiable overlap with their own research. Each session was completed with a concluding discussion to view and evaluate the work produced. The ethos of a workshop environment allowed the participants time, space and opportunity to produce either finished works or to lay the foundations for future development without any immediate pressure to arrive at a fully-resolved conclusion. The images and other information in this publication are evidence of these outcomes, and constitute a sample of results rather than a comprehensive collection.
ISEA2010 RUHR, 16th International Symposium on Electronic Art, is one of the foremost international festivals for electronic art. ISEA2010 RUHR will present an exhibition of contemporary artistic perspectives on the themes of technology and science. Participating artists: Natalie Bewernitz / Marek Goldowski, Aram Bartholl, Daniel Bisig / Tatsuo Unemi, Juliana Borinski, Martin John Callanan, Verena Friedrich, Terike, Haapoja, Aernoudt Jacobs, Yunchul Kim, Thomas Köner, Soiichiro Mihara, Kazuhi Saita, Hiroko Mugibayashi, Krists Pudzens, Charles Stankievech, Barbara Sterk, Vladimir Todorovic, Herwig Weiser. Editor: Authors: Andreas Broeckmann, Stefan Riekeles
A Planetary Order is a terrestrial globe showing clouds from one single moment in time, thereby subtly highlighting the fragility and interdependence of the Earth’s environmental systems. Showing the earth’s cloud cover from one second in time, the shimmering white cloud globe freeze-frames the entire operation of the global atmospheric regime, and highlights how fragile the environmental (and informational) systems are that operate across the world. For the globe is created from raw information, being a physical visualization of real-time scientific data. One second’s worth of readings from all six cloud-monitoring satellites that are currently overseen by NASA and the European Space Agency was transformed into a virtual 3-D computer model, which was ‘3-D drawn’, or rather, laser melted, at the Digital Manufacturing Centre at the UCL Bartlett Faculty of the Built Environment. It was the largest object ever created by the Digital Manufacturing Centre, and it took two full days to build, the delicate outlines and profiles of the clouds emerging slowly as the laser carved gently across the compacted nylon powder surface of the sphere. Unlike most of NASA’s own data visualizations, the globe features no added colour, only the sculpted whiteness of the raw material that throws a maze of faint shadows across the structure. From out of these shadows, in the right angles of light, emerge the global cloud patterns taken on 2 February 2009 at 0600 UTC precisely, and, under them, the implied outlines of the continents below, seen as though glimpsed through mist, or rather, through the mystifying quantity of atmospheric data that is currently being collected from the silent fleet of satellites in orbit some 36,000 kilometres out in space — an increasingly hertzian environment, where an electronic Babel of satellites, radio signals, text messages and security frequencies vibrate with an invisible stream of man-made weather.Though far from earth’s surface, we have nevertheless made it back to something resembling Borges’s 1:1 scale Map of the Empire, for, by taking a single second’s worth of transmitted information, our entire world has been made anew, pristine, white, and wreathed in the haze of an artificial atmosphere, held aloft like the fossilized egg of a long-extinct species that is about to be brought back to life from a single rescued strand of DNA. Text from the book Data Soliloquies
Martin John Callanan, artist-in-residence at University College London's Environment Institute, used satellite data to create a small 300mm terrestrial globe depicting cloud coverage from a single second in time. He first showed the work, titled A Planetary Order, last week at an event also celebrating the publication of Extraordinary Clouds, a new book by the UCL Environment Institute's writer-in-residence, Richard Hamblyn. The cloud-themed projects are profiled in a short video from the university. "UCL writer and artist-in-residence look to the skies"
Fabian Neuhaus at UCL CASA plotted the first year’s worth of Location of I data into Google Eart
Data Soliloquies is a book about the extraordinary cultural fluidity of scientific data. A wide array of graphs, charts, computer models and other forms of visual advocacy have become inescapable fixtures of public science presentations, though they are often treated as if they were neutral ‘found objects’ rather than elaborate narrative constructions containing high levels of statistical uncertainty. Through a mix of essays and artworks, this witty and engaging book — the result of a collaboration between Richard Hamblyn and Martin John Callanan during their terms as writer and artist in residence at the UCL Environment Institute — examines the theatricality of scientific data display, while critiquing some of the poorly designed statistical wallpaper that surrounds so much public science debate.
Broken Dimanche Press is pleased to launch with the release of a catalogue of intention, a guide book to Europe from a unique point of view. From interrogating Nicolas Bourriaud‘s ideas of a new age of the altermodern to the daily life of a political actitivist in the last dictatorship in Europe,Belarus, You Are Here goes a way to offering a unique field book for contemporary Europe. A continent where young artists and activists blend forms and travel in their work, living in one country while all the while subtly interrogating their home countries’ traditions and expectations. A generation has come of age in a post-Wall Europe who no longer feel obligated to answer the national questions, but instead answer to their unique personal experience, one of borderless work and travel, mediated by translation and the Internet. Such instances of artistic, intellectual and activist projects are given space in You Are Here, offering the chance to see whether such young practitioners really are writing from a freedom and plurality born in 1989 back into a new, wider and pan-European tradition in 2009.
Richard Hamblyn and Martin John Callanan Data Soliloquies: Graphical Communication in Science This paper considers the use (and abuse) of graphs and other forms of visual advocacy in public science forums, with particular emphasis on their application to climate change debates. Graphics are often treated as though they were found objects rather than elaborate constructions containing high levels of statistical uncertainty. The controversy over Michael Mann’s ‘hockey stick’ graph in 1998, for example, turned on its dependence on assumptions that were not permissible (though the ensuing NRC inquiry concluded that any statistical shortcomings in Mann’s analysis were too minor to have influenced his overall findings.) Yet there have been more serious cases of graphic irregularity, such as when the Goddard Institute for Space Studies changed the layout of its website in 2005, redrawing its historical climate graphs, with disturbing consequences. Our paper will explore these and other episodes, such as NASA’s ‘hyped Venus’ controversy, with its notorious 22-fold exaggeration of visual scale. The presentation, moreover, will be two-fold. The paper itself will be presented in tandem with a showing of some of Martin John Callanan’s Text Trends animations, which offer a visual critique of the kind of statistically
Electronic and digital systems generate completely new forms of migration. In the creative arts, new phenomena related to migration and the synergies of disparate systems are emerging. Artistic products evolve from traditional forms into hybrid digital forms. Analog products are being digitized; data spaces are trans-located from one data storage system to another; existing sounds, images, and texts are remixed and fused into new datasets. The book is based on international conference and exhibition Migrating Reality which took place on April 4-5, 2008 in Galerie der Künste, Berlin, Germany, and on material submitted to the online magazine balsas.cc. As with the conference, the exhibition, and the on-line projects, the book is an overview of the migration topic from various perspectives, not excluding the use of a variety of languages. For example, we offer the reader an interview with Žilvinas Lilas “Bastymasis man būtų daug priimtinesnis žodis” conducted by Vytautas Michelkevičius in Lithuanian and the text “Kulturtransfer in der Frühen Neuzeit – eine andere Realität der Migration” by Philipp Zitzlsperger – an essay on migration from a historians perspective. The ideas presented textually in the book shift back and forth from essays and articles to projects and back to essays. The territories shift from social space to virtual space and eventually land us back in a realm of physical, political, economical, and historical reality.
nephology.eu documents clouds observed and recorded by Martin John Callanan. Definitions according to International Cloud Atlas (1956 edition)
ALSAS is an interdisciplinary journal on media culture. BALSAS started as an initiative of VILMA (Vilnius Laboratory of New Media), which goal is to introduce the media culture to Lithuania. BALSAS wears a format of new media, whereas content is created with participatory principle by participants/readers and with editorial principle by editors. BALSAS has an intention to create a digital and critical community, which develops the discourse of media culture in Lithuania. BALSAS among other activites is organising a series of Vilnius Media Seminars (VMS), which a discussion between Belarusian and Lithuanian young researchers and activists.
Text Trends deals with the spectacularization of information. Using Google data it explores the vast search data of its users. The animation takes the content generated by search queries and reduces this process to its essential elements: search terms vs. frequency searched for over time, presented in the form of a line graph The viewer watches the animation plot out the ebb and flow of a series of search terms generated over the last four years by internet users around the world. Pairs of words such as ‘now and later’, ‘summer and winter’ play out matter-of-factly, with all the passion of a market index. Instead of the hyper-interactivity of emerging news aggregators and information readers, Text Trends explores our perception of words though topics like time and politics. The work is an investigation into data use, encouraging criticism on how the data is generated; prompting the question what does the data actually represent? In the first 16 months online the animation received 24,600 views. The work has been developed into a new animation dealing with climate change (at the UCL Environment Institute, 2009). This work formed the basis of joint investigations with Richard Hamblyn into metaphor within data presented as information.
This is a one-year project between four media art organisations ISIS (UK), RIXC (Latvia), InterSpace (Bulgaria) and BEK (Norway) and facilitates the movement and exchange of artists and media art in four very different European countries. At Home in Europe is about the production and distribution of artworks using digital media and promoting the co-operation and professional development between the partner organisations.
Callanan's work explores apparatuses of power. Gathered here are the responses to his mass letter writing. Each letter poses a deceptively simple question or even inane rhetorical statement and the collected responses reveal the absurdity of bureaucracy and the egos of those that claim power. Collected here are a selection of responses to a series of letters mailed between 2004-06, ranging from the bemused response of the Secretary to the Archbishop of Canterbury to the question "When will it end?" to appreciative letters from the offices of President Mubarak of Egypt in response to the declaration "I respect your authority".
okay.greyisgood.eu is a unified aggregation of status updates syndicated from social networking profiles of Martin John Callanan
Every minute of every day since the beginning of 2007 I have continually published my exact physical location on the internet. For over 2 years this work has also been shown a gallery context at nine different exhibitions and festivals around the world. Examining data acquired from locative devices, I have found it to inherently tell a story, though the story itself is not obvious. The abstract information is presented over a map with location pointers, devoid of detail and emotion, it’s always a record of sequential events: a story. A form of narrative that provides an audience with a means to create their own story. The residency to develop this work generated the paper “An Ethnology of Solitude” presented at 9th International Festival for New Media Culture (Latvia). It has been printed in the At Home in Europe publication, Balsas Journal on Media Culture (Lithuania) and Migrating Reality, (Germany) During the first 26 months of being online, this work received over 865,000 views, preempting various services including Google Latitude.
Cultural theorist Marshall McLuhan said that people don't read newspapers so much as submerge into them; likening this action, a veritable "sinking" into disparate streams of information, as something an individual would approach as casually as they'd slip into a warm bath. This work provides a similar immersive media experience by amassing the front page of hundreds of newspapers from around the world and displaying these images within the screen space of a single webpage. Launched in 2007 and viewed by over 30,000 people, collecting more than 600 newspapers originating in six continents, continuously gathering data from these sources without pause. These pages are organized to form a massive grid that references the familiar "image gallery" and "array of thumbnails" that are associated with managing digital information assets but subverts these organizational frameworks towards different ends. The examination of the front page, as multitude, neutralizes the newspaper as a document and transforms the entire medium into a regimented gestalt. Each paper reduced to an image, a node in a networked text - totalized, overwhelming, and illegible.
Interactivity has become ambient. Individual people are no longer isolated resulting from the scaling up of networks and the scaling down of the apparatus for transmission and reception. Various communication devices always carried are continuously emitting and receiving information. This continuous data flow is both invisible and often, by the majority of people, unknown. Today’s hand-held devices can be seen as extensions of the human body allow ubiquitous, inescapable network interconnectivity. The ‘Sonification of You’ aims to make this data flow ‘visible’ to those people carrying the active devices. Our equipment will passively scan the various radio spectrum frequencies used by mobile phone devices, Bluetooth, WiFi networks, and others used by mobile devices, within a given space. The data information then represented by assigned audio sounds that will indicate activity, distance, and strength of signals. Drawing on methods for monitoring large computer networks, the result is to create a background ‘sound’ for a space that is representational of the people, and their devices, present. The invisible become audible and therefore visible. Allowing individuals to become aware of their constant connectivity.
A [hidden] transmission device, using Bluetooth protocols, continually searches for visible and open devices (mobile phones, laptops, PDAs etc) within an area. On discovering an open device, a simple message is sent, reading: “I am still alive”
Early fracture treatments in the AWP (Olmos) field utilized over 1,000,000 lbs. of 20/40 mesh Ottawa sand. While production results were good, mechanical problems and economic factors necessitated alternative treatments. Smaller volume schedules were tried, but the resulting production lagged the larger jobs. Recently, treatments designed with resin coated sand (RCS) improved well performance. The stronger RCS maintains better conductivity at lower proppant concentrations with resultant good production response at a lower total cost. As an additional benefit, the curable RCS bonds together to eliminate proppant flowback.
Permission is sought, often after lengthy negotiation, to visit buildings closed to the public. Buildings that are fundamental to, if not somewhat discrete from, the everyday. Once granted, permission includes lists of restrictions on what can and cannot be photographed. Omissions habitually include: personnel, security devices, computer terminals, doors, and views from windows. Consequently, the resulting photographs are generally of the entrance hall floors; of such buildings as parliaments, government offices and the world headquarters of international banks.
Martin John Callanan (formally known as Martin John Callanan) legally changes his name to Martin John Callanan. The name change will subsequently be announced in the local papers and The London Gazette.
Sound waves broadcast in space and captured by powerful antennas. A steamy repetition creating an environment open to different contributions, pervaded by the energies of the artists themselves, who were invited to focus their attention on those deceitful mechanisms that are always in play at the interchange between infosphere and psychosphere. Different types of data, sounds and magnetism: all these elements poetically meet in multimedia, which is here the synesthetic melting pot of experimental sound compositions. This collective, which promotes the Radio Tower Xchange project, by connecting online performances and audio art events, wants to pay homage and at the same time criticize the “broadcasting philosophies”, embodied in the “symbolism” of radio towers themselves. Technologies for sharing that are evolving towards direct transmission, not “for the audience” but “from the audience” which, thanks to WiFi networks and the multiplication of “emission points” and the simultaneous demand for those inputs, pave the way to the emergence of new systemic chains. Neural Review. The idea behind this event is both paying homage and a critique of the broadcasting philosophies and histories the radio towers represent, and an investigation into the evolving practice of unregulated online broadcasting. [Adam Hyde] In 2007 Xchange network for alternative audio content providers and Net broadcasters celebrated its 10th anniversary. RTX event was co-organised by RIXC (Riga, Latvia) in collaboration with partners: Okno (Brussels/BE), Tesla (Berlin/DE), Ellipse (Tours/FR), Projekt Atol (Ljubljana/SI), and Performing Pictures / Interactive Institute (Stockholm/SE) in the framework of the project “Waves – electromagnetic waves as material and medium for arts” (2006-2007). Live audio and sound art contributions; Martin John Callannan. Sonification of You. Horia Cosmin Samoïla / Spectral Investigations Collective. VLF in Paris Jan-Peter E.R. Sonntag. Campa-Sacrow Nils Edvardsson. Power Lines in Sweden Clausthome. Solar Radio Station Superfactory. Ringsendungen live stream from Bratislava (elpueblodechina, Isjtar, Annemie Maes and code31) live stream from Brussels (Society of Algorithm) live stream from Orleans (GSA Psy Ops Soundsystem) stream from Ljubljana (DJ Woo and Fennesz) Support: Latvian State Cultural Capital Foundation, Latvian Ministry of Culture, Culture 2000
Sound waves broadcast in space and captured by powerful antennas. A steamy repetition creating an environment open to different contributions, pervaded by the energies of the artists themselves, who were invited to focus their attention on those deceitful mechanisms that are always in play at the interchange between infosphere and psychosphere. Different types of data, sounds and magnetism: all these elements poetically meet in multimedia, which is here the synesthetic melting pot of experimental sound compositions. This collective, which promotes the Radio Tower Xchange project, by connecting online performances and audio art events, wants to pay homage and at the same time criticize the "broadcasting philosophies", embodied in the "symbolism" of radio towers themselves. Technologies for sharing that are evolving towards direct transmission, not "for the audience" but "from the audience" which, thanks to WiFi networks and the multiplication of "emission points" and the simultaneous demand for those inputs, pave the way to the emergence of new systemic chains. Aurelio Cianciotta
find this piece of work very fine actually because it represents very simply, that is to say in the classical shape of the globe, what is in reality an unbelievably complex process. Normally of course one sees only the sky and the prevailing weather conditions over the place where one is at that time. That this is a complete and forever changing global system is quite wonderfully depicted with this very simple and, in my opinion, beautiful artwork. The worldwide interconnecting system, which Callanan has recorded in miniature, is subdivided in Marko Peljhan’s “Arctic Perspectives” into umpteen individual projects…