HOT painting by Hungarian born artist Paul Mutant, conflating the actual and the virtual in the effort to explore concepts around global internet censorship (with a nod to Magritte’s Treachery of Images). HOT!
HOT glitchy video art by Australian artist Simon Pericich: “In 2009 a third of all websites on the Internet were of a porn content. Porn is basically responsible for every advance in communication technologies through its constant demand and the creative freedoms allowed by its revenue. Today 89$ is spent on porn every second- that works out at around $28 billion every year.” (read more)
Fuck You Google Street View is a HOT photographic series by Michael Wolf cataloguing people from around the world giving Google Maps the finger (while appearing on Google Maps). FUCKING HOT!
HOT digital artwork by interdisciplinary musician/composer Paul Rucker; “In May of 2009, I was honored to be part of a Prison Issues residency at the Blue Mountain Center… While doing my individual research, I happened upon some maps created by Rose Heyer that showed the growth of the US Prison system. With that information, I was inspired to create Proliferation, an animated mapping of the US Prison system set to original music.” (Paul Rucker)
HOT sound art by The Bookhouse Boys (a.k.a. Meredith Van Halen) mashing a whole range of bands singing “I want you back” into a single Burroughs-esque sound collage. The last 50 years of pop music reduced to a single, poignant phrase, begging the question – what do you want back? SUPER HOT!
HOT digital performances by media artist Joseph DeLappe, using interactive online games as sites for political intervention. FUCKING HOT!
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“The project dead-in-iraq is an online memorial and protest taking place within the US Army recruiting game, “America’s Army”. I enter the game as “dead-in-iraq” in order to manually type the name, age, service branch, date of death of each service person who has died to date in Iraq using the game’s text message. The work is essentially a fleeting, online memorial to those military personnel who have been killed in this ongoing conflict. My actions are also intended as a cautionary gesture.”
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“On the evening of October 18th, 2002 at 7pm, I worked with 6 fellow gamer/performers connected to the same “Quake III Arena” game server online. Instead of participating in the graphic, three dimensionally simulated environment of death, the group of performers recreated, by typing on our keyboards, an episode from the popular sit-com “Friends” – each of us logged in as one of the characters from the show… Phoebe, Ross, Monica, Joey, Chandler and Rachel performed, line for line, an adaptation of this season’s first episode by typing, while at the same time reciting, the lines from the show using the games online messaging system – the lines of text appeared at the top of each player’s screen in real time. Our performers functioned as passive, neutral visitors to the game – we were constantly killed and reincarnated to continue the performance.”
HOT digital artworks by Claire Harris exploring female sexuality through screencaps of Matthew Broderick in War Games. Harris, one of the moderators of feminist art blog FrailSisterComics, brilliantly captures Broderick’s raw sensuality by focussing on the affective qualities of his face, transforming his character from masculine ‘role model’ into feminine sex icon. See the whole series here. HOT HOT HOT.
HOT sound art from composer John Oswald, who was responsible for the concept of “plunderphonics.” This track is made from snippets of Metallica songs from the album And Justice For All; “Oswald says he liked the way the Metallica ensemble was recorded, but that the drum arrangements were inadequate, so here’s a new improved version.” (read more)
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“Musical instruments produce sounds. Composers produce music. Musical instruments reproduce music. Tape recorders, radios, disc players, etc., reproduce sound. A device such as a wind-up music box produces sound and reproduces music. A phonograph in the hands of a hip hop/scratch artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced – the record player becomes a musical instrument. A sampler, in essence a recording, transforming instrument, is simultaneously a documenting device and a creative device, in effect reducing a distinction manifested by copyright.” (John Oswald, Plunderphonics, or Audio Piracy as a Compositional Prerogative)