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WiFi Dreams


images by AxyxA V¡ϟu-A-l

∆˚∆˚∆˚ ˚ ˚⦗OR AM I RLY DEAD?·•⸰°⦘⌇⌇⌇˚ ˚ ˚∆˚∆˚∆˚∆˚∆˚∆ ⧞ ⧞

+check out Terrell Davis in interactive Issue 5 of online Felt Zine,
as well as two pieces in the recently released 4th issue of Polyester Zine, available for purchase at http://www.polyesterzine.com/buy

&&& let us all wish bb a happy BL8d bday!!! Terrell, u r now legal to like join the military or w/e u wanna do its your life get it boo!!!

help celebrate this wunderkind’s existence by hitting up his Amazon Wishlist & buy the boy sum gifts, & you’ll be like a patron of the arts n shit ***¯\_(ツ)_/¯***

flyer by David Winkler

image by t̕ù.̕ú̀́k̢̨’̨́z͟

CRYOGENICS, 2016 by Michael Green
Friday, March 11at 9 PM
3553 Brighton Blvd, Denver, Colorado 80216

Data Parade is a digital art show curated by Coleman Mummery and David Winkler. The exhibit will be up for one night only at Rhinoceropolis in Denver Colorado. Images will be shown on hdtvs and videos will be projected on large screens. The idea behind this show is to showcase global digital art on a local scale and to bring digital art to the attention of the Denver art community.

Coleman Mummery is a Digital artist based in Denver. His Work deals with the way images are seen online, themes of transhumanism, and spirituality through organic and electronic material.

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+Lorna Mills’ Mountain Light/Time, presented by Midnight Moment
March 1–31, 2016
Every night | 11:57pm–midnight

In partnership with Moving Image, Times Square Arts brings Lorna Mills’ brief GIF of a sunrise over a mountain to Times Square’s electronic billboards every night in March. This project is a part of Midnight Moment, a monthly presentation by The Times Square Advertising Coalition (TSAC) and Times Square Arts.

Launching Thursday, March 3 at 11:57 PM, on view for one month, playing nightly for three minutes ‘Mountain Light/Time’ is an animated GIF of a speedy sunrise over mountain tops with each loop timed to match the duration of a deep breath. A virtual inhalation and exhalation of mountain air and light in Times Square.

Edward Winkleman and Murat Orozobekov, Co-Founders of Moving Image, said “Moving Image art fair has championed artists working in new mediums since its inception, so we’re very excited that our ongoing collaboration with the Times Square Advertising Coalition and Times Square Arts will result in the first Midnight Moment presentation of work by an artist creating moving image work in GIF format. As a widely respected leader in this emerging fine art medium, Lorna Mills is a perfect choice for this pioneering presentation.

“TRANSFER is thrilled this artwork from Lorna Mills will reach a new contemporary art audience and general public alike via the Times Square Midnight Moment launching during Armory Art Week. In the past two decades Mills has amassed a vibrant online following – her artwork has seen millions of impressions globally. This exhibition of animated GIF artwork stretching across the massive screens in Times Square is the ultimate physical installation of this popular contemporary art format.”


A full inventory of work from Lorna Mills is available from the gallery. Please inquire with the director@transfergallery.com to request information.

About the Artist :::
Described as a ‘wall of resistance to data formation’, the animated GIF work of Lorna Mills reflects her obsession with subcultures, absurd perpetual conditions, endless anxiety, human folly and masturbating monkeys. With elements culled from a variety of online sources, her moving image collages are in a state of constant oscillation; the particular and peculiar rapidly expanding to universals and then, just a quickly, contracting right back again.

Canadian artist Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990’s, both in Canada and Internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film & video, and obsessive on-line animated GIFs incorporated into restrained off-line installation work.

Recent exhibitions include “Abrupt Diplomat” at the Marshal McLuhan Salon for Transmediale, “At Play in the Fields of the Lord” at Transfer Gallery, Brooklyn NY and “DKRM”at DAM Gallery, Berlin. Lorna Mills’ most recent curation project, “Ways of Something” is a collaborative remake of the 1972 John Berger documentary “Ways of Seeing” episodes one through four, featuring over 113 networked artists.

Lorna Mills is represented by TRANSFER in Brooklyn, New York and DAM Gallery in Berlin.

Lindsay Howard and a drone.
photo courtesy of Ignacio Torres

Resonant Entity by MSHR
photo courtesy of the artist

+we are V proud 2 share the Observer Arts’ piece Curating Internet Art, Online and IRL by Ryan Steadman, in which Newhive’s own Curatorial Director Lindsay Howard is interviewed about reality; the internet; three-dimensional space; organizing the first ever digital art sale at a major auction house; NewHive & curating the cloud ~

“There used to be a much sharper contrast between IRL and “going online,” but thanks to mobile technology, they’ve been rapidly bleeding together, and I believe the distinction will eventually dissolve completely.”
- Lindsay Howard

to the question of what she is working on currently, Lindsay replied:

“My next research project will be called Temporary Highs. It’s an investigation into the ways in which the internet enables a constant pursuit of highs and lows and will study everything from social media use to online shopping habits. I started with a long list of temporary highs—drugs, auction prices, orgasms, ex-boyfriends, likes, faves, retweets, sugar, alcohol, money, credit cards, workaholism, massages, manicures, gambling, sports, and beauty—and have been delving into each one more deeply. I’m looking at the scientific research around what happens to the brain when it’s experiencing highs, and how the structure of the internet encourages reward seeking behavior in a nonstop cycle of compulsive sharing and consumption. I’m writing about temporary highs from a personal perspective, speaking with experts in the fields of neuroscience, psychology, and sociology, and closely observing how artists are creating and adapting work for these conditions. This is a long-term, ongoing research project, however I anticipate at least certain aspects of it will be realized as a group exhibition within the next year.”

+net based award presented by HeK (House of Electronic Arts Basel)
HeK (House Electronic Arts Basel)
free stock Square 9
CH-4142 Münchenstein / Basel, Switzerland

In 2016 the Swiss Art Magazine Kunstbulletin and HeK (House of Electronic Arts Basel) established a new prize, ‹net based›, for net-based art, with prize money amounting to CHF 10,000. Based on the model of large international prizes for digital art, such as ‹The Lumen Prize› or the ‹Prix Net Art›, this new Swiss prize aims to draw attention to the Internet as a platform for artistic activities and to make innovative web-based projects accessible to a broader public; at the same time, it aims to raise the visibility of the Swiss scene in this genre, and promote international exchange.A young generation of artists has grown up with the Internet and in a digital culture; they use these tools quite naturally in their work, as sources of inspiration and material, and as a venue for art. It is to the Internet as the site for art production and as a medium for distribution that the new prize, ‹net based›, is dedicated. Submissions have been reviewed by an international jury: Karen Archey, free curator and art critic, Berlin/New York, Ben Vickers, curator of digital, Serpentine Galleries, London, Raffael Dörig, director Kunsthaus Langenthal, Langenthal, Sabine Himmelsbach, director HeK, Basel, Roger Schoenberger, Symphasis, Zürich, Felix Stalder, cultural theorist, Switzerland. The winner is selected by the jury from a shortlist of the 10 best works.
Vote here for your favourite project:


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+Museum of Post Digital Cultures: To Outer Space, to Cyberspace
The online life of obsolete media

While we’re busy updating our new gadgets, the pile of obsolete media grows. Some of it gets a life online, by systematic and non-systematic archivists, conservators, restorer, companies, institutions, amateurs, scientifically transferred or more likely haphazardly scanned, recorded and uploaded with or without the correct title, credits or aspect ratio (and let’s not even start talking about copyrights). It happens out of geekery or nostalgia, neglect or business, to provide access for scholars and amateurs, out of curiosity for the forgotten, ready to be rediscovered or repurposed.

Needless to say there’s enough material to fill several post digital museums. So here’s just a small, personal collection of online versions of things originally pressed on vinyl and gold records, put on film and on tape, printed on paper, or written in outmoded programming languages. Some of it is canonical or became part of a new canon of rediscoveries, some is rather obscure. There are obvious, metonymical or associative connections between the specimen in this collection which I tried to map out in a diagram or map. Follow this map to visit, among many other things, an early lab for computer generated images, Switzerland’s first cybercafé, a man who knows a lot about VHS recorders, a street corner in New York, and outer space.
- Raffael Dörig


Raffael Dörig is director of the Kunsthaus Langenthal. He also teaches at the Haute école d’art et de design HEAD in Geneva. He was a curator at [plug.in] and the House of Electronic Arts, both in Basel, and co-founder of the Shift electronic arts festival. He sends dispatches from past futures at his blog dispokino.blogspot.com.

On the last day of the symposium Post Digital Cultures, on December 7, 2013, the Museum of Post Digital Cultures was introduced. As an online platform, it is meant to collect, preserve, exhibit, and research the issues addressed during the symposia.

Mirroring a museum IRL, the mission of the Museum of Post Digital Culture is to build a collection and to make it available to the public. Consisting of texts, films, sounds and artworks, the museum gathers individual and subjective positions, and does not aim to draw an exhaustive map of historical references but rather to build a specific identity shaped by the donated contributions.

Since 2014, the Museum of Post Digital Cultures has been inviting guest curators to temporary ‘take over’ the online museum. Bringing their own expertise and network, each guest curator ‘rehangs’ the museum’s collection and bring new donations, temporary sharing their vision of what an online museum should be.

webdriver-torso-youtubeYouTube Stills, Webdriver Torso. image : tecnosofia blog

+Webdriver Torso
Webdriver Torso is a YouTube account that posts mostly 11-second videos consisting of blue and red rectangles that change position, accompanied by a series of beeps which change in pitch. After much speculation, it was revealed that the channel was created by YouTube as an internal testing utility for the platform performance. [via DADABOT. An Introduction to Machinic Creolization, by Nicolas Nova and Joël Vacheron]

Prior to YouTube’s confirmation of the channel as a test channel, there were various imaginative hypotheses regarding the identity and content of the videos, included spy messages, contact by extraterrestrial life-forms, and construction plans.
◇”Matei” speculation

On the video “00014″, Webdriver Torso commented “Matei is highly intelligent”. The “Matei” being mentioned is unknown. Basarab Matei, Matei Mancas, Matei Gruber, and Matei Ciocarlie have been suspected. The comment has apparently been removed.
◇Cicada 3301 speculation

The combination of the cryptic videos with the use of the phrase “highly intelligent” in the “Matei” comment led many to believe that Webdriver Torso was a part of the ongoing Cicada 3301 recruitment puzzle. Cicada 3301 had previously posted messages with hidden codes in an attempt to recruit “highly intelligent individuals. [via Wikipedia]

The Webdriver Torso mystery was finally solved by website Engadget following Italian blogger Soggetto Ventuno’s discovery that Webdriver Torso and all similar channels belong to a network of accounts called “ytuploadtestpartner_torso”. Ventuno then discovered some other accounts with similar videos, many of which were pulled or made private after Ventuno’s investigations were published. The network linked to a Facebook page and a Twitter page, which have now both been taken down. The Facebook page had mentioned “Johannes Leitner”, a Google Zürich employee. Leitner was friends with another employee, “Matei Gruber”. “Matei” was mentioned on 00014 (see above). Ventuno then compared scenes from pulled videos with Google Zürich photos, and noticed matching things, indicating that the pulled videos were recorded at Google Zürich,[3] and that the channel and all similar channels were run from Google Zürich.

The videos are made to test YouTube video quality. After creation, the videos are uploaded to YouTube. The uploaded videos are then compared to the videos before they were uploaded, to see how much quality was lost.

When YouTube was asked about Webdriver Torso, they replied: “We’re never gonna give you uploading that’s slow or loses video quality, and we’re never gonna let you down by playing YouTube in poor video quality. That’s why we’re always running tests like Webdriver Torso.”
This is a reference to Rick Astley’s song “Never Gonna Give You Up”, but more importantly to the cloud-based practice of “Rickrolling“; a classic trolling tactic spawned on 4chan in 2007.

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Opening March 18, 6-8P
March 18- April 15
Center Galleries at College for Creative Studies
201 E Kirby Street, Detroit MI

The exhibition Doubly So, curated by Deputy Director of PLAYGROUND DETROIT, Samantha Banks Schefman for Center Galleries at the College for Creative Studies is focused on duality of persona and perspective, and its relation to the ontology of digital media. The show, which opens March 18th, features photography, video, and sculpture.

Artists working with virtual reality are creating immersive multi-disciplinary environments that simulate 3-D concrete existences, ideas, and images. The intersection between science, art, and technology creates the effect of an interactive three-dimensional world in which the objects have a sense of spatial presence. These objects are bi-products of human’s relationship to technology, the internet, and the idea that not only are we being observed but also we have the ability to be the surveyor.

Leaning toward Object-Oriented Ontology, the items projecting digital media become immediately humanized by the images in the videos of internet-darling and “selfie”-queen Amalia Soto aka Molly Soda. Her digital artwork and social media following has allowed for the creation of a persona through which she can “invoke insight on contemporary feminism, perversion, culture, and identity.” Molly Soda has received international recognition since her video Inbox Full was a highlight of the world’s first digital art auction held at the reknown Phillips in 2013, exhibiting solo internationally for the first time at London’s Annka Kultys Gallery November, 2015. She shared her use and view on the artful “selfie” image on NPR’s All Tech Considered in July, 2015, and often questions the state of “Self” in captions of posted images for her social media following.

Often noting her given dual identity, Iranian-American artist Sheida Soleimani’s tableau photography reflects the “identity formed by personal memories and stories my parents expressed to me as a child.” Raised by political activists who, after facing imprisonment, immigrated throughout Europe and to America in order to escape the revolution and Ayatollah’s totalitarian regime; “belonging and non-belonging” shaped her upbringing, perspective, and narrative.

I’m interested in the physicality of the photograph — as a visceral object and translator of memory and suppressed narratives. […] Through incorporating multiple layers, the lexicon can be read and refashioned by the viewers’ ideologies, creating images that remain coeval, while acknowledging former origins.
Her latest work focuses on the astonishing numbers of women put on trial and (often by false accusations) hanged to death under the rule of Rouhani (2013-2015). With strict government control over the internet and geo-tracking through social media, often the only outlet for voices speaking up against Iran’s totalitarian regime is Twitter (often a source for Soleimani’s found portraits of the accused that she uses in her photographed sets). Out of the thousands of executions, little to none of this deadly injustice has been shared with international media.

After receiving her MFA in Photography at Cranbrook Academy of Art, Soleimani was awarded the Association of Independent Colleges of Art and Design Fellowship and is serving as an Assistant Professor of Graduate studies at Rhode Island School of Design.

Both sensual and grotesque, intimate and public, Sofia Szamosi photographic and video self-portraits are about “the bondage of the self, the challenges of surrender, the confines and margins of the body and the world around that body.” In relation to her long-term photobooth project:

My current work is a negotiation between the lived experience of gender and the performance of it—a documentation of my personal searching and my relationship with my outer world. It is intimate, public, and necessary. […]The photo booth becomes a microcosm for the boxes I experience daily […]This is a public art—photo booths sit in commercial spaces. There is an inherent performance and exhibition involved in the process, and this is one more boundary.
Szamosi is currently enrolled in NYU Gallatin School of Individualized Study, has presented in Gallatin Galleries, as well as solo and group shows at Open Source Gallery, Proto Gallery, and with Superchief.

Dessi Terzieva utilizes virtual reality in collage, photo, video, and installation formats by manipulating traditional uses of craft and technology, and breaking down the real and imagined worlds into conceptual representation of human’s relationship to technology, science, and the social consciousness. Through her latest project the audience will experience the future findings of technology as discovered in an archeological dig, with “Big Brother” over their shoulder. After participating as a Red Bull House of Art resident, Terzieva has participated in exhibitions nationally and internationally from Detroit to Switzerland, as well as featured in international publications such as London-based DASH Magazine.