Not Signed-In
Which clippings match 'Media Art Net' keyword pg.1 of 1
11 NOVEMBER 2007

A list of online scrapbooks of contemporary and digital culture

Media Art Net
Networked Performance
Database of Virtual Art
We Make Money Not Art
Carnet de Notes
Things Magazine



blog • cyberactivism • cyberartscybercitycybercultureDatabase of Virtual Artdesign blogdigital culturedigital scrapbook • Fourwalling • iGargoyle • Lemos • Mashable • Media Art Net • Networked Performance • Oliver Grau • • Things MagazineUbuWebWe Make Money Not Art
16 APRIL 2007

A Dual Strategy: reading both annotations and their texts

"This reveals a dual strategy: firstly, we are not 'reading' a text through its main text only, but more through its periphery and specific textures like the notes apparatus, the selection of pictures, the quotations and references, the imprint, the binding or context for an essay etc. Academic texts present this subtext and context apparatus very consciously. The second part of the strategy is that the index, relieved of its referential quality, has now become the main text.

These artists 'liberate' images (Peter Piller) and words (Douglas Blau) from their original indexicality of reference to an original system, so that they can be re–ordered and opened up to a new way of reading. The generative quality of the text apparatuses and the logic of the library (as a store for all reference structures), make the archive into a producer and into an archive of potential texts. Text and image are not just placed in the archive as an 'Akte' (document) but become 'Akteure' (actors) in their own right. It is misleading to talk about a knowledge store when in fact we are dealing with a knowledge generator."

(Rudolf Frieling, Media Art Net)


18 AUGUST 2006

Critique through emphasising clichéd cinematic plots

"A collage of Hollywood melodramas of the 1950s and 1960s, filmed directly from the television set. The constantly recurring motifs of suspense and clichés of plot make it possible to move seamlessly among scenes from different films with different protagonists: uneasy sleep, getting up, listening at the door, turning on the lights, being startled, etc.

In the montage, the movements and gestures of the actresses–stars like Lana Turner, Tippi Hedren, and Grace Kelly– seem choreographed and planned for each other. The sound track (Dirk Schäfer) supports this effect with connecting passages of sound that imitate the stereotypes of the genre. The treatment concentrates the dramatic shift from the familiar to the eerie and shows how women become the victims of the voyeuristic glance of film."

(Media Art Net)






1990 • choreograph • clicheculture jammingcut-up technique • Dirk Schafer • filmGrace KellyHollywoodHollywood starHollywood starlet • Home Stories (1990) • hysteria • Lana Turner • mash-up • Matthias Muller • Media Art Netmelodramamontageparodyre-purposestereotype • Tippi Hedren • unmanageable emotional excesses • window
11 JUNE 2004

FuckU-FuckMe(tm) for Windows 95, Windows 98 and Windows NT

"FuckU–FuckMe(tm) for Windows 95, Windows 98, and Windows NT provides the most complete remote sex solution for the Internet and corporate intranet. Powerful features let you sexually communicate with your remote partner and provide an absolutely realistic sensual experience of a real intercourse. The basic FuckU–FuckMe(tm) kit consists of two hardware units – genitalDrive(tm) model M (male) and genitalDrive(tm) model F (female) and an accompanying software interface.The genitalDrive is an internal device in a standard case that can be installed in any free 5.25" slot of your PC. The FuckU–FuckMe software connects your genitalDrive with a corresponding unit on a remote PC using TCP/IP protocol. When you start remote sexual intercourse with your partner using FuckU–FuckMe(tm) the system will transmit all your actions to his/her genitalDrive and precisely reproduce them in real time. The system has intuitive interface and allows you to entirely concentrate on remote communication."

(Alexei Shulgin, 2004, Media Art Net)

[Alexei Shulgin's tongue–in–cheek critique of our modern condition including pre–eminence of disposable consumption, dehumanisation and the affordances of cybernetic interaction via the Internet.]



1999 • 5.25 inch slot • Alexei Shulginanalogue • corporate intranet • cyberartscyberdildonicscyberneticcybernetic artcybernetic communicationdildo • dildonics • FuckU-FuckMe(tm) • FUFME Inc. • genitalDrive(tm) model F (female) • genitalDrive(tm) model M (male) • haptic devicehaptic interface • hardware units • Internetintimate transactionintuitive interface • masturbator • Media Art Netnetworked art projectPCprostheticsremoteremote communicationremote partner • remote sex • remote sexual intercourseRussian artistsensual experiencesexsex toysexual intercoursesexually communicatesoftware interfacespeculative designtactile communicationteledildonicstelematictelematic arttelematic experiencetelematicstelepresencetongue-in-cheek • virtual sex • Windows 95 • Windows 98 • Windows NT
02 JANUARY 2004

Things Spoken: a catalogue of Her belongings

"Most people collect objects during their lives. These can be gifts, souvenirs, momentos, personal artifacts, found things, etc. Their significance for their 'collectors' are usually contextual and personal.

This CD–ROM presents a selection of about 50 objects that I have collected, put together in such a way that the viewer can make an interactive exploration of both their singularities and their possible (inter)relationships. Each object has been digitized on a flat–bed scanner, whose consequent transformation of the original object is a form of aesthetic reconstitution characteristic for 'multimedia'. Embedded in a machinal darkness, the objects reveal themselves insubstantially, idiosynchratically in the reflected red, green and blue light of the scanning process.

The viewer can sort these objects by various criteria such as size, weight, colour, function, or such as in the case of gifts, the gender of the persons who gave them to me. In this way that 'feverish' method by which digital archives can be reorganised according to any criteria is here applied in a manner that is as gratuitously personal as the objects themselves.

Each object is accompanied by my personal narrative that led me to keep these often trivial things and by the account of friends. The third layer of interactivity comes from within these spoken narratives. Specific words are hypertextually linked to any reoccurences oaf those words elsewhere. In this way the viewer can instantly make links between objects and their associated stories. These chance conjunctions in the narratives amplify potential relationships that let the viewer discover further layers of congruency and signification within this very personal of objects."

(Media Art Net)






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