Eduardo Navas researches the crossover of art, culture, and media. His production includes art & media projects, critical texts, and curatorial projects. He has presented and lectured about his work and research in various places throughout the Americas and Europe.

Navas collaborates with artists and institutions in various countries to organize events and develop new forms of publication. He has been a juror for Turbulence.org (Boston) in 2004, Rhizome.org (NYC) in 2006-07, and Emerging Fields Consultant for Creative Capital (NYC) in 2008-09. He is founder and was contributing editor of Net Art Review (2003-05), and is co-founder of newmediaFIX (2005 to present). Navas was gallery Coordinator for gallery@calit2,located in UC San Diego in 2008.

He has taught art and media theory at various colleges and universities in the United States, including Otis College of Art And Design and San Diego State University in California, as well as Pennsylvania State University, State College in Pennsylvania. Navas received his Ph.D. in 2009 from the Department of Art and Media History, Theory and Criticism at the University of California in San Diego.

Minima Moralia Redux (2011 – ongoing), is a selective remix by Eduardo Navas of Theodor Adorno’s Minima Moralia. Starting on October 16, 2011, an entry every one or two weeks is to be rewritten until the 153 aphorisms of Minima Moralia become part of the online art project. This means that Minima Moralia Redux will be active for at least three years–perhaps longer.

Theodor Adorno’s aphorisms are carefully analysed and reinterpreted in order to explore the principles of selectivity in remixing, often found in music and video. Selectivity in remixes consists of adding to or subtracting material from a pre-existing source. A Visualization of the original text is at the top of each entry; a thumb nail image of the same text is available at the bottom of the page along with a visualization of the remixed text; these images give users an idea of how the remixed text is derived from the original. In this fashion, Adorno’s aphorisms are rewritten to make evident how his voice is still relevant in our time of networked media.

http://minimamoraliaredux.blogspot.com/

Jon Rafman is an artist, filmmaker, and essayist. He holds a B.A. in Philosophy and Literature from McGill University and a M.F.A. from the School of the Art Institute of Chicago.

His films and new media work have been exhibited in various group exhibitions such as 15th Slamdance Film Festival, Utah, ‘Repair’ Ars Electronica Festival, Linz, ‘Fotographia Festival Internazionale di Roma’ at Museum of Contemporary Art, Rome and New Museum, New York.

You, the World and I (2010) is a romantic narrative in the form of a visual essay, collated from selected imagery found on the Internet and Google Street View. The story addresses Google street view software as a melancholic device, which contains the imagery of the Earth. As tenuous storage for images that contain sensitive information, Google street view not only empowers through its open access, but also induces melancholia. It promotes unprecedented interaction with the world, yet when it comes to emotional connection, true memories prove irreplaceable. This short film tells a story through the detached gaze of a satellite image or an automatic Street View camera, which speaks of human consciousness whose ability to seek connectedness and meaning has already been compromised.

http://jonrafman.com/

Parker Ito is an Internet based artist. He has created works under various pseudonyms such as Deke McClelland Two and Olivia Calix, as well as working collaboratively with JstChillin.org.  His practice focuses on the distribution and realization of objects and user identity through networked cultures.

Frozen-Saxophone (2) (2012) is a work made in collaboration with the artists Body by Body (Melissa Sachs and Cameron Soren). The imagery of Frozen Saxophone (2) alludes to ‘saxing’, a popular Internet meme in which users record saxophone solos over pre-existing songs, thus creating a new song. There are no rules in length, genre or mood one can sax. The only thing that is required is a sax and loads of sensual passion. The film is a collection of users engaging with this meme.

‘Can counterculture still exist? What does it mean when countercultural figures (historical or otherwise) are ripped out of their context…. where it becomes possible for 50s Americana to simultaneously co-exist with Japanese tentacle rape, Victorian-era fetishism, and Industrial Revolution speculative fiction.

The soundtrack to this scorched earth is provided by the Pitchfork media behemoth, a satellite hydra transposing one of its many insidious micro-genres over the terrain like a second skin…. Our subconscious desires filtered though image aggregators, converted into algorithms and passed like currency through the mind-hands of digital pimp-engineers and distant GUI slaves in India’.

http://www.parkerito.com/

Double Happiness is an internet surf club whose members are Bennett Williamson, Borna Sammak Jeff Sisson and Eric Laska. Bennett Williamson is a Los Angeles based artist and DJ whose work has been shown in New York, London, and Berlin, and has had a radio show on WFMU.

Jeff Sisson and Borna Sammak are both New York-based artists. You can see more of Jeff’s work at ilikenicethings.com and Borna’s at jawns.tumblr.com. Eric Laska is a New York based artist working with sound and digital media.

Infinite Scroll (2012) was commissioned specifically for Public Access. The new work addresses Internet user behaviour patterns.

‘This is the Double Happiness’ version of an infinite scroll, but one that is truly infinite, and should you scroll really far it will break your browser before you’re able to see the end (which was another common side effect of viewing the original double happiness surf site). Instead of showing you new things it just adds the next thing on top and then stretches each image as you scroll, with an appropriately stretched soundtrack. With the advent of blogs and particularly Tumblr with it’s “infinite scroll” function, in ways it feels like scrolling is the only action left on the Internet, the only verb. So in Double Happiness style we’re playing with that convention, that expectation’.

http://doublehappiness.ilikenicethings.com/

Geraldine Juarez makes work that attempts to understand the spaces that emerge when property, the Internet and power collide, with an interest in piracy, open technologies and economies. She is member of the Free Art and Technology Lab (FATLAB) and has been a resident artist at inCUBATE in Chicago, Timelab in Belgium and JA.Ca in Brazil and was one of the recipients of the Makers Muse Award in 2011.

Her work has been shown internationally in group exhibitions such as ‘Interference, Feedback and Other Options’ at Eyebeam, New York; ‘Los Impolíticos’ at Palazzo delle Arti Napoli;  ’Secret Project Robot’, New York and ‘State of the Art: New York’ at URBIS Manchester, among others.

HFH: High Frequency Horizons (2012) was commissioned specifically for Public Access. HFH: High Frequency Horizons is a series of designs for 3d prints of ‘Flash Crashes’, which occurred on the financial stock market. In fashioning these 3d print designs of networked financial reporting systems, Juarez presents the viewer with an alternative fiscal archive.

http://www.simple-mechanisms.com/geraldine-juarez/

River of The Net is project conceived by David Karp and Ryan Trecartin, a collaboration initiated  by the Rhizome conference “Seven on Seven” held at the New Museum, New York in 2010.

River of the Net (2010) is a crowd-sourced video project utilising live user-generated film. The website collates a continuous stream of ten second videos uploaded by users, which are sequenced and tagged by the user using a maximum of three terms. These terms are then collected at the bottom of the site’s home page forming an ever-expanding list. River of the Net incorporates the image collation of Tumblr and the associative arrangement of YouTube videos, which proposes a credible future for user-dictated social media engines and resembles a human stream of consciousness.

http://riverofthe.net

Natalie Bookchin’s videos and installations explore new forms of documentary, addressing conditions of mass connectivity and isolation and exploring the stories we are telling about the world and ourselves. Her work has been exhibited widely including at LACMA, PS1, Mass MOCA, the Generali Foundation, the Walker Art Center, the Pompidou Centre, MOCA Los Angeles, the Whitney Museum, Tate, and Creative Time. She has received numerous grants and awards, including from Creative Capital, California Arts Council, the Guggenheim Foundation, the Durfee Foundation, the Rockefeller Foundation, California Community Foundation, New York State Council for the Arts, Daniel Langlois Foundation, a COLA Artist Fellowship and most recently, two awards from The Center for Cultural Innovation.

Testament is an ongoing series of video installations made from fragments from online video diaries, or “vlogs” that explores contemporary expressions of self and the stories we currently tell online about our lives and our circumstances. Clips are edited and sequenced like streams and patterns of self-revelation and narrative that flow and dissipate over space and time. As in a Greek chorus, individuals echo, respond to, contradict, add refrains, iterations, and variations, join in, and complete solo narrations. The project reflects on the peculiar blend of intimacy and anonymity, of simultaneous connectivity and isolation that characterizes social relations today.

Mass Ornament is a video installation in which hundreds of clips from YouTube of people dancing alone in their rooms are edited together to create a large dance with waves of synchronized movement. The dance recalls historical representations of synchronized mass movements of bodies in formations, from the Tiller Girls and Busby Berkley, to Leni Riefenstahl, as well as to Siegfried Kracauer’s 1927 essay on the mass ornament.

http://bookchin.net/projects.html

Kristin Lucas is a multi-disciplinary artist working in video, installation, performance and interactive Web projects. Writes Lucas: “I am creating a discourse within which to elucidate my relationship toward the electronic dream. I unravel the complexity of this relationship by setting up virtual interactions with mediated devices, such as automated tellers, public access television, computer games, and the World Wide Web.”

She has had numerous solo exhibitions such as Postmasters Gallery, New York; And/Or Gallery, Dallas; Windows, Brussels, Belgium; New Museum of Contemporary Art, New York; O.K. Center for Contemporary Arts, Linz, Austria; and FACT (Foundation for Art & Creative Technology), Liverpool, England, among others. Her work was included in the 1997 Biennial Exhibition of the Whitney Museum of American Art, New York, and in group exhibitions at The Museum of Modern Art, Artists Space, and the Brooklyn Museum of Art, New York; The Nelson-Atkins Museum of Art, Kansas City, Missouri; steirischer herbst 9, Graz, Austria; the 7e Semaine Internationale de Video, Geneva, Switzerland; Stedelijk Museum, Amsterdam; and Dunedin Public Gallery, New Zealand, among others, and at festivals in Mexico City, Montreal, New York and San Francisco.In 2003, she received an Urban Visionaries Award for Emerging Talent from the Cooper Union.

Refresh (2007) On October 5, 2007 Lucas became the most current version of herself when she succeeded in legally changing her name from Kristin Sue Lucas to Kristin Sue Lucas in a Superior Court of California courtroom. On the name change petition that she submitted, she wrote: “Refresh”, as the reason for the change. After a philosophical debate on perception of change, and two hearing dates, the presiding judge who granted the request said: “So you have changed your name to exactly what it was before in the spirit of refreshing yourself as though you were a web page.”

Everyone Loves My Cocoa Krispies (2010). In “Everyone Loves My Cocoa Krispies”, Lucas recites past and present marketing slogans and taglines culled from the web to a soundtrack of royalty-free beats. Using her own vocal chords, and a contemporary self-broadcasting method, she retransmits phrases that continue to give shape to the culture that informs her consciousness and identity – resulting in an at times critical, humorous, hypnotic, programmatic, and nostalgic delivery.

http://kristinlucas.com/

Caleb Larsen’s conceptual practice takes its form through sculpture, print, drawing and computer programming. He situates his practice ‘at the intersection of material culture and immaterial data-space’. His work deals with the notion of the artwork as commodity; in particular, the economic workings of art world institutions and how immaterial labour and the act of exchange can be viewed as a commodity. He has exhibited in numerous exhibitions such as Ars Combinatoria in Orlando, the Los Angeles Center for Digital Art, Detroit International Video Festival, Flux Factory in New York, 911 Media Arts Center in Seattle, and Tjaden Gallery at Cornell University.

 A Tool to Deceive and Slaughter (2009) exists in two parts – in the form of a physical sculpture as an eight-inch, high gloss acrylic black box and as an immaterial presence in the virtual realm. Through electronics, software and a live Internet connection, the sculpture continually places itself for sale on the auction website ebay.com. For the work to exist, it must be connected to the Internet, which means that it is perpetually for sale. The terms and conditions of the sale of the work stipulate that the work, once in the possession of the current owner, must be connected to the Internet in order to continue the cycle of commodification.

For Public Access, the live ebay auction will show the physical sculpture for sale in situ in the group exhibition, ‘Yes, We’re Open’, at the Nederlands Instituut voor Mediakunst (NIMK), Amsterdam.

www.caleblarsen.com

Gustavo Romano is an artist who works in a variety of media including actions, net art, video, installations and photography. He uses media and technological devices as well as domestic objects in an effort to decontextualize them and reconsider our daily routines and preconceptions.

 He is the director of PSYCHOECONOMY!, an artistic platform for research towards alternative resolutions to global issues. He was the director of Medialab Cultural Centre of Spain, Buenos Aires from 2004-08 and received the Guggenheim Fellowship in 2006.

The IP Poetry Project (2006) involves the development of a software and hardware system that uses text from the Internet to generate poetry that is then recited by automatons connected to the web. The different search instructions and the recital mode and sequence dictate the structure and form of each IP poem. The search results are sent to the automatons (IP Bots), which convert the search results into pre-recorded sounds and images of a moving human mouth.

www.gustavoromano.org

Brad Troemel is an artist and writer living in New York.  His work focuses on the liberatory potential for the internet to serve as an alternative exhibition space to institutions dominated by the art market. He is currently an MFA candidate and adjunct professor at NYU. Troemel has exhibited internationally and his writing has been featured in publications such as Rhizome and Art Fag City.

http://bradtroemel.com/

Jonathan Vingiano is a creative technologist based in Brooklyn, NY. Vingiano is interested in the intersection of art and technology, memetics, programming language, and digital aesthetics. He graduated from Emerson College in Boston, MA with a degree in Experimental Media. He runs  OKFocus, a design and technology studio and  recently completed a project for JstChillin’s  Serial Chillers in Paradise.Vingiano is also the creator of Le Meme, a popular blog that aggregates some of the funniest GIF animations and images from around the Web.

http://jonathanvingiano.com/

Blind Mist (2011-ongoing) is a system of images, generated by URLs of websites provided by visitors. Blind Mist is constantly sourcing images from the user-submitted URLs to add images to the system. There are over 300,000 images in the system and no two visitors will share the same experience. Blind Mist debuted on March 17, 2011 at 319 Scholes in Read/Write, curated by JstChillin. Blind Mist won a Rhizome Commission as part of the 2011 commission cycle.