The Fakebook Generation

I’ve always thought of Facebook as online community theater. In costumes we customize in a backstage makeup room — the Edit Profile page, where we can add a few Favorite Books or touch up our About Me section — we deliver our lines on the very public stage of friends’ walls or photo albums. And because every time we join a network, post a link or make another friend it’s immediately made visible to others via the News Feed, every Facebook act is a soliloquy to our anonymous audience. (nytimes)

What Makes a Machinima Film "Good"?

For the sake of the argument, let’s not pull back and simply say that machinima – like every other form of art – is simply too diverse to even talk about the issue. It so happens that there are more and more machinima film festivals and when judging films – what are the criteria to apply? Can you simply put a machinima film next to a classic animation and use the same idea of “good”? Is there some quality that is more specific to machinima and can only be achieved in that format? So the question might also be: what makes a machinima “better” than traditional animation techniques? (Free Pixel)

Review of Bourriaud’s "Relational Aesthetics"

A thorough-going review of Bourriaud’s “Relational Aesthetics” can be found at new media : ryan peter andre tobin:

Bourriaud focuses on the role of modernity in shaping the way we relate to society in contemporary times. While modernity had a teleological view of a utopian life, engineered through the great technological advances of the industrial revolution, contemporary society has abandoned this pursuit for a more realistic path. It’s understood now that we have inherited the history of our ancestors and instead of reengineering the world we live in, we attempt to improve our situation while slowly ameliorating our current social structures. Modern art attempted to present us with the world of the future, the ideological world of modernity, in a revolutionary movement. The art of today investigates the world as it is, and focusing on societies state of constant change. (new media: ryan peter andre tobin)

The Weather Project

Olafur Eliasson nimbly merges art, science, and natural phenomena to create extraordinary multisensory experiences. Challenging the passive nature of traditional art-viewing, he engages the observer as an active participant, using tangible elements such as temperature, moisture, aroma, and light to generate physical sensations. The works assembled for this presentation — the first U.S. survey of this Icelandic artist’s oeuvre — date from 1993 to the present and reflect all facets of his creative practice. Encompassing sculpture, photography, and large-scale immersive installations — including a newly commissioned kaleidoscopic tunnel that envelops the Museum’s steel truss bridge — these groundbreaking projects are intentionally simple in construction but thrilling to behold, sparking profound, visceral reactions designed to heighten one’s experience of the everyday. (SFMOMA)


This summer we began work on the third of three autonomous entities we’ve been developing with a grant from the Rockefeller Foundation and Renew Media. It’s an “unmanned surface vehicle,” or water robot, made for protests on or near aqueous points of interest . Of course, it’s too dangerous for people to do such protests, so we need robots. (edgy_product)