So, Ive been pretty quiet for about the last 4 - 5 months,…no new projects posted to the web, … even my delicious linking fell off … well that cause I have been working on an art show I have opening this Friday :-) the show is called “subtractions, modifications, addenda, and other recent contributions to participatory culture”. I am happy to be opening Team’s NEW SOHO GALLERY!! There are some new videos, a few computer hacks, and even a 12inch vinyl record. Source code for the projects will appear here eventually, but for now there is just a real world version. So please come and check it out. Here are the details:

Team Gallery
83 Grand Street, between Wooster and Greene
Friday, September 29, 6:00PM - 8:00PM

and here is the press release.

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Conflux is the annual NYC festival for contemporary psychogeography where international artists, technologists, urban adventurers and the public put investigations of everyday city life into practice on the streets. Currently in its third year, Conflux will take place September 14 - 17th in Brooklyn. Over 80 artists from across the US and countries including Canada, UK, Spain, Germany, Finland, Sweden and Australia will come to Williamsburg to present projects including experimental walking, biking, boat and public-transport tours; street games and tech workshops; mobile broadcasts, performances and temporary installations.

dont tell anyone, but i might be using applescript for a project……

It is to our deep national shame—and ultimately it will be to the President’s deep personal regret—that he has followed his Secretary of Defense down the path of trying to tie those loyal Americans who disagree with his policies—or even question their effectiveness or execution—to the Nazis of the past, and the al Qaeda of the present.

Today, in the same subtle terms in which Mr. Bush and his colleagues muddied the clear line separating Iraq and 9/11 — without ever actually saying so—the President quoted a purported Osama Bin Laden letter that spoke of launching, “a media campaign to create a wedge between the American people and their government.”

Make no mistake here—the intent of that is to get us to confuse the psychotic scheming of an international terrorist, with that familiar bogeyman of the right, the “media.”

The President and the Vice President and others have often attacked freedom of speech, and freedom of dissent, and freedom of the press.

Now, Mr. Bush has signaled that his unparalleled and unprincipled attack on reporting has a new and venomous side angle:

The attempt to link, by the simple expediency of one word—“media”—the honest, patriotic, and indeed vital questions and questioning from American reporters, with the evil of Al-Qaeda propaganda.

That linkage is more than just indefensible. It is un-American.

For their first solo Los Angeles exhibition, the McCoys present two new works. Both pieces are inspired by the language and themes of childhood. In the upstairs gallery, their project Special Things explores a super-charged utopian childhood of cavorting lambs, romping youths, and chiffon rainbows. All of this is rendered sculpturally in fragments across sixteen small hanging sculptures. Each sculpture consists of a miniature scene, a small video camera, and a mirrored word layered across the front of the sculpture. On a nearby screen, images of the sixteen scenes and their words are rapidly intercut, creating new sentences and shifting meaning: “The children feel special today” or “You can smell the flowers”.

In the downstairs gallery, the McCoys present Scary Things whose images come from simple elements of nature that can be frightening to children. This sculpture uses a similar technique of tiny cameras, sculptural miniatures, and acrylic text, but here the terrain is one integrated platform. Although the sculpture contains only ten words, hundreds of sentences are created, forming a reduced poetry of fear: “Dogs are fighting scary things” or “Lost birds are scary “.

New materials are one of the great afflictions of contemporary art. Some artists confuse new materials with new ideas. There is nothing worse than seeing art that wallows in gaudy baubles. By and large most artists who are attracted to these materials are the ones who lack the stringency of mind that would enable them to use the materials well. It takes a good artist to use new materials and make them into a work of art. The danger is, I think, in making the physicality of the materials so important that it becomes the idea of the work (another kind of expressionism).
Sol LeWitt, “Paragraphs on Conceptual Art”