Scream at the Economy

June 17, 2009

Scream at the Economy


Making use of an art historical definition of screaming as “a kind of shorthand of modern alienation and despair, icons of anxiety and hopelessness,” the Floating Lab Collective invites people to call a phone number and scream at the economy.

The work, titled Scream at the Economy,is a participatory project that captures the expressions of angry citizens in MP3 format.  The files will be used to create a musical composition, to be played in front of relevant financial institutions.

  1. Call this number: 646.402.5686 ext 90514 (24/7) to call to United States from another country +1
  2. Scream at the economy. To get a clear recording please back up a few inches from your phone before you scream.
  3. The screams will be used to compose music. (6 international composers will use the screams as a source for the composition)
  4. Download the music created from the screams (for free) beginning June 25, 2009 at:
  5. The music will be played as a performance in public space in front of financial institutions. Using the “screamer”, to play the compositions.

Time, Twitter Art, and Self-Promotion

June 2, 2009

I, Boris Ostrerov, am starting my latest project titled, “Twitter Installation” at the Walkers Point Center for the Arts (WPCA) Annual Member’s Show on view from June 5th until July 2nd 2009.

the Twitter Installation:

Start with the username “installation1” on Twitter.  Do not tweet on this account.

Publicize this project outside of twitter before the first day of the show.

Follow all the people that chose to follow the “installation1” username.

Gather all the tweets of all the people I follow and print out on translucent paper (1x5in. strips).

Bring the tweets on the paper to the gallery each day and drop over the same spot on the floor every day.

Photograph the installation daily.

At the end of the installation the tweets are glued together into a sphere.

I will post pics daily on my site:

In the “Twitter Installation,” I am materializing tweets among the Twitter community, into a physical semitransparent mountain or puddle-like form.  Starting from literally nothing on the first day of the show, the pile of tweets will grow in size depending on the amount of followers the username “Installation1” gains and the amount of times each follower tweets.  Please spread the word and contribute in the growth of the mountain of tweets by following the username “Installation1” on and tweeting.  If enough people are involved, this installation can grow exponentially to a gigantic form, filling up so much space in the gallery that it encroaches on other artworks or blocks a walking path.   At the end of the show I will glue all the translucent strips of vellum paper into a sphere, solidifying countless conversations of a past moment in history.

Show: Friday, June 5 through July 2, 2009. Opening Reception: Friday, June 5, 5–9pm.

a song from the past about the future by a great (song)writer & poet

April 12, 2009

New Beauty?

March 31, 2009


I feel like I have seen something like this before, but this is done particularly well. I love the drummer. and the kid with the trumpet.  and when the kids say “yeah!”. The unintentionally collaborative opportunity of YouTube cannot be underestimated.  This types of shit will for-certain become more common place.  I’m not sure if I would be so in love with it if I couldn’t see it, but I just can’t take my eyes away to find out.


Frank Zappa was continually trying to break the molds of “Rock Star” and “Composer”.  Here, he adds one more: modern dance.  I have had the album this was on for years, but had no idea there was dance accompaniment. Aside from being an incredible composition (written for synclavier, arranged for orchestra), the dance is continually surprising (note: approximately 4 “lifts” done by the woman). Leave it to Frank to bring Sex, Ballet and “Classical Music” together.


As artists, critics, historians, writers and curators (etc.) it is important to take note of scientific discovery and the ways it propels our tools of analysis.  How have we never seen this thing before? I had to watch this several times before being able to look at it like a short alligator instead of a sad, mopey dolphin.


I don’t know anything about this really.  Only that it isn’t lightning bolt. and it’s awesome.


The composer of this piece is now 25 years old. The shear amount of control that one must exercise to perform this piece is shear beauty. Though the quality of other videos is inferior, his ideas are amazing, and I highly recommend checking his other work.


it is easy to forget that sports and art have a lot in common.  anyone oriented towards achieving goals through practice and discipline is alright in my book.

March 22, 2009

highheel4 About the New Beauty Council
Written by Annika Enqvist
Monday, 15 December 2008

Coming from different backgrounds and having diverse opinions on what is good or bad, beautiful or ugly, tiring or exciting, the citizen’s of a city have one thing in common – the shared public space. At odds or finding a consensus, the public realm is a stage for constant negotiation. The New Beauty Council investigates what concepts like the public consists of and how beauty and ugliness can be (re-)defined, as well as how user’s experience of the city is influenced by different conditions.

The project studies institutions and authorities, which form and have the privilege to interpret cities’ appearance and functions. The New Beauty Council wants to bring into consideration new perspectives on how public space can be used and look, not through promoting one single point of view, but by opening up new ways of experiencing the public sphere and concepts of beauty.

The founding members are Annika Enqvist, Anna Kharkina, Thérèse Kristiansson and Kristoffer Svenberg.


March 19, 2009

Hello, all, this is my disembodied voice from March 12, 2009 at approximately 3 PM! I am writing this a week in advance, minus 6 hours, because there’s no way I would actually write anything cogent–much less be awake–at 9 AM, because I am a loser, but future Nicole is a changed woman.

Anyway, things to think about that I don’t feel like elaborating quite yet.

-The system of pattern/randomness being more relevant than absence/presence.

mind separated from matter

mind separated from matter- KRANG

“The very definition of ‘information,’ then encodes the distinction between materiality and information that was becoming important in molecular biology during this period.”

“Abstracting information from a material base meant that information could become free-floating, unaffected by changes in context.”

“As Carolyn Marvin notes, a decontextualized construction of information has important ideological implications, including an anglo-american ethnocentrism that regards digital information as more important than more context-bound analog information”

“My dream is a version of the posthuman that embraces the possibilities of information technologies without being seduced by fantasies of unlimited power and disembodied immortality, that recognizes and celebrates finitude as a condition of human being, and that understands human life is embedded in a material world of great complexity, one on which we depend on our continued survival.”

N. Katherine Hayles

New Exhibitions Opening at (MoCAD) Museum of Contemporary Art Detroit

February 11, 2009

Two New Exhibitions are opening this Friday February 13 at the Museum of Contemporary Art Detroit. Below  are the exhibition descriptions, taken from MoCAD’s website. Anyone in the area should make it out to see these shows. I will write and post more after I get to see the show, so more to come…

The above images left to right top to bottom are as follows: Ceal Floyer, Ceal Floyer, Hans Schabus, Hans Schabus, Tris Vonna-Michell. (All images are from previous exhibitions)

Curated by Hamza Walker and organized by the Renaissance Society of Chicago, Black Is, Black Ain’t is made possible by an Emily Hall Tremaine Exhibition Award.
February 13 – May 3, 2009

Black Is, Black Ain’t examines the topic of race from a fresh perspective and in the context of a post-Civil Rights era, where discussions of race have shifted from a focus on inclusion and equality as expressed in the dreams of Martin Luther King Jr., to a concerted but open-ended effort to make race socially and politically irrelevant.

The exhibition features works by over 20 African-American and non-African-American artists who thoughtfully and provocatively touch and reflect on subjects such as race, gender, sexuality, representation and language. History and class also feature prominently, offering a unique opportunity to revisit and rethink these important topics of race through the eyes of exceptional contemporary artists.

Curated by Trevor Smith, Curator of Contemporary Art, Peabody Essex Museum, Salem, Massachusetts, and Thomas Trummer, Project Manager for the Visual Arts at Siemens Arts Program, I Repeat Myself When Under Stress is presented in collaboration with the Siemens Arts Program.
February 13 – May 03, 2009

I Repeat Myself When Under Stress examines the ways that contemporary artists compulsively duplicate visual, narrative and formal elements in their work. Repetition and reproduction have been recurrent themes in artistic practice since 1945—as a means of embracing medium hybridity and as a stylistic device—revealing both the compulsions of consumption and the psychological constraints artists face in climates of economic and political uncertainty.
In the exhibition, Ceal Floyer, known for her extremely precise and subtle interventions in exhibition spaces, presents already existing works. Hans Schabus has created a site-specific installation on a simultaneously micro- and mega-scale, and Tris Vonna-Michell has expanded a work created in response to his encounters with the social history and revolutionary potential of the City of Detroit.

The artists, both individually and collectively, reflect and focus on repetition, a concept that acquires special significance in the context of Detroit—the city where the assembly line was invented. Once a great symbol of modernity and automatization, this industrial process relied on an inherent linearity and repetitiveness that over time has, without significant adaptations, become virtually obsolete, particularly in an increasingly interconnected world.