The conventional notion of interface design
is that the interface be perceived as transparent. The Prosthetic
Component Interfaces are a series of pieces that attempt
to do the opposite. Without any practical application, the
PCI function like "interface candy" or audio-visual
toys. PCI are participatory media objects- playful, minimalist
and game-like instruments, both fictions of science and
design. With a mixture of interactive animation and sound,
similar to the interfaces in an application’s graphical
user interface or home stereo, PCI playfully simulate the
interfaces of retro-futuristic electronic components in
pixel form. The user explores the PCI and they respond to
the user's mouse actions with pixel mechanics and sound.
Some of the PCI exhibit simple behaviors, which reference
the "artifice" of intelligence in the interface
of art. The Prosthetic Component Interface Series involve
discovery and the user's performed organization of sonic
and pixel forms. The Prosthetic Component Interface Series
function as replicant prosthetics for children nine months
Andrew Bucksbarg is a new media artist, experimental
interaction designer, audio-visual performer and a professor
in the Department of Telecommunications at Indiana University.
Bucksbarg’s work and interests reverberate in the
space of creative new media practices, technology and theory.
As an experimental interaction artist, Bucksbarg concerns
himself with technologies and social systems that support
tactics of ambiguous, autonomous social creativity and exchange.
Bucksbarg’s work appears physically and digitally
around the globe. More information- organicode.net
Continuum appropriates porn clips and
reconfigures them into an ambient evolving sequence. The
editing technique focuses on the face, effectively reciprocating
the violent intensity of the original material. Conversely,
the jittery evolution of the faces resemble dancing watercolours,
while the audio texture wonders from one pitch to the next.
Continuum is part of a body of work that utilizes freely
available material on the web, editing their sequence according
to musical and mathematical rules.
Tom Badley studied at the Slade School of
Fine Art. He has exhibited in London and New York and has
contributed to numerous publications and online journals.
As well as video installations, his work includes drawing,
sculpture, text and music. More information can be found
Searching In The Box is part of a digital
painting project that has different forms of representation.
This is just one of its vertions. It is an exploration project
wich main idea is to experiment painting in a different
way than in its printed vertion experimenting with painting
within a dinamic context. The project is based on the process
of searching. It uses characters drawn from the Internet.
I look for the characters exploring the Internet through
words. I use portraiture as a medium to explore the subject´s
representation, in this case, different subjects that try
to make out a bigger portrait. (An Internet portrait?, a
modern subject portrait?, a selfportrait? ).This is a feedback
project between painting and the Internet (Internet-painting-Internet),
It is also a Work in progress.
Francesca Roncagliolo was born in Lima,
Peru, 1978, and now lives and works in Madrid, Spain. She
holds MA in Art and New Technologies from Universidad Europea
de Madrid as well as studies in Fine Arts at Emily Carr
Institute of Art and Design, Vancouver-Canada and in Photography
at Centro de la Fotografía, Lima-Perú, etc.
Her works have been shown at various places in Spain and
Latin America, including the Premi Miquel Casablancas 2005,
Centro de Arte Joven, Madrid 2004, and Circuitos de Artes
Plásticas y Fotografía, Madrid 2004.
"Language is the mechanism whereby
you understand what i'm thinking better than i do (where
'i' is defined by those changes for which i is required."
Poet, writer, performer, improviser, Chris
Mann's works for voice are based on complex texts, freely
composed to allow a play of wit and humor. He explores the
textures and gestures of Australian speech, with its rhythms
and qualities of color, pitch, intonation and emphasis.
He has collaborated widely with composers, film-makers,
and electronic music composers. He has received commissions
from Radio France, Paris Autumn, National Public Radio,
Composers Forum, Australian Biennale, Ars Electronica, Australian
Broadcasting Corporation, BBC. He has held residencies at
the Shire of Healesville in Victoria, ABC Staff Union, Harvestworks,
RPI's iEar Studios.
One of the most important components of
the 'Barcode of Life' initiative is the construction of
a public reference library of species identifiers which
could be used to assign unknown specimens to known species.
This database will lead to the 'Life Barcoder', linking
biological identification to developments in DNA sequencing,
electronics and information science. In order to construct
the database, DNA barcode data must first be obtained from
all known species. Perhaps it is no surprise then that barcodes
- designed to tag physical objects with information in order
to be processed by computers - are now being extended to
humans in the form of 'bio-barcodes' that can be implanted
or injected. Despite the ethical concerns about this surreptitious
physical integration of the digital into the biological,
a number of companies are rushing to patent human bar code
systems in a market already estimated to be worth $100 billion.
Both these developments are at the root of Zinhar - a representation
of a future handheld bioscanner that is broken and incomplete,
but can be fixed by the user in order to complete its scan
Zinhar is a collaboration between the Turkish
visual poetry magazine Zinhar ( www.zinhar.com
) and the post-dada magazine 391.org ( www.391.org
), and was conceived and edited by the british/canadian
artist babel ( www.babel.ca
) with contributions by Serkan Isin, Derya Vural, Deniz
Tuncel, Baris Cetinkol, Asli Serin, Abraham Abulafia, Keith
Martin and Escha Romain.
HZ NET GALLERY is curated by SACHIKO HAYASHI
For submissions and proposals,