serial consign

[c5 / softsub]

Quite possibly the publication I most anticipated in 2007 was Database Aesthetics: Art in the Age of Information Overflow, a recent addition to the excellent Electronic Mediations Series published by the University of Minnesota Press. The book, edited by Victoria Vesna, is a compendium of essays and projects which engage the database as a critical and creative paradigm. Many of the projects and texts in Database Aesthetics were originally shown or published around 2000-2001 but the consolidation of this material into a single volume accentuates the importance of this body of work in the present day.

The text includes Lev Manovich's seminal essay "Database as Symbolic Form" from The Language of New Media. Norman M. Klein and Bill Seaman's contributions both contain engaging responses to Manovich's discussion about the future of narrative. Klein's essay "Waiting For the World To Explode" contains a particularly juicy passage which lays bare the shortcomings of the database as a tool for traditional storytelling:

Data are also filled with an unmistakable absence. Data cannot "conclude" a story; they cannot deliver a "suspense" ending, like a murder mystery - not in the traditional way (and I am not convinced that interactively choosing your own adventure solves this problem, even with high-resolution effects). Data are part of a process without an arc that requires a dramatic ending. Instead, they proceed by insinuation, by involution - towards a beginning, towards an aporia (the road without a name). That kind of journey can be extremely charming, like "a making-of" that is so massive that it does not even require a movie.

While the tone of Klein's observations is pessimistic, it does quite adequately describe the obsession with taxonomy evident in work such as George Legrady's Pocket Full of Memories, a key project mentioned numerous times throughout the text.

[george legrady / vital statistics - installed at the seattle central library]

In addition to several important reference texts which draw on literary, filmic and photographic schools of thought, Database Aesthetics also contains a few lucid survey texts which catalog impressive swaths of multidisiplinary work. These include Steve Dietz's "The Database Imaginary: Memory_Archive_Database v 4.0" (which is available on his website) and Christine Paul's "The Database As System and Cultural Form" which glides through a number of my favourite net art & visualization projects including 0100101110101101.org's Life_Sharing, Bradford Paley's TextArc and The Secret Life of Numbers (produced by Golan Levin, Martin Wattenberg, Jonathan Feinberg, Shelly Wynecoop, David Elashoff and David Becker).

Database Aesthetics also reminded me about two projects that I have not thought about for several years, Nancy Paterson's Stock Market Skirt (pictured above) and John Klima's ecosystm. Given my continued interest in Meta-Markets, it is quite timely to revisit these early financial data driven projects which, respectively, automate skirt length in relation to the market index and animate simulated ecologies based off real-time stock information.

While I only really touched on about half of the excellent content within Database Aesthetics, I hope it is clear that the text has made quite an impression on me. It works as a (recent) historical text, archiving and contextualizing an impressive array of work but perhaps more importantly it serves as a definitive reference through which to interpret much of the visualization and software art being produced today.

Last week, I spent some time working through the portfolio of my friend and peer Corwyn Lund. One of his recent projects resonates quite nicely with my interest in media and journalism. This past summer, Corwyn presented Microphone Bouquet Series at Seducing Down the Door, a group show at Mercer Union here in Toronto. The project uses the unique sculptural qualities of clusters of microphones as a springboard into a discussion on tragedy. An excerpt from Lund's statement on the project:

Clusters of microphones are a ubiquitous aspect of news conferences worldwide. Floral in form and color, each microphone appears to clamor toward the speaker like flowers toward the sun. As sculptural arrangements, they are the handiwork of television, radio, and print media reporters all vying for proximity to the head of state who is speaking.

Within the world of this project, each "bouquet" is a placeholder for the tragedy that has brought these recording devices together.

[corwyn lund / tehran, jan 14th, 2006 / microphone bouqet photo series]

This project was executed through altered photography and sculpture. The first image in this post, Tehran, Jan 14th, 2006 conveys the general strategy at play within the photographic portion of this project. Lund searched the archives of news bureaus and collected a series of press conference photographs in which microphone clusters figured prominently. An ersatz depth of field effect has been employed in these images to foreground each microphone cluster.

This work is quite effective at co-opting the everyday experience of consuming news and information. I can't recall being more compelled by images of a media-centric project since I fell in love with Helmut Smits' Photo Tip, an installation from 2004.

With the sculptural portion of this project, Lund created his own "idealized" microphone bouquet out of foam, aluminum, cable, audio jacks and paint. The resulting object is a stunning abstraction of the microphone assemblages explored in the photo-series.

If you'd like to learn more about Corwyn Lund's work be sure to take a look at the documentation of his MusicBox RevolvingDoor and Swingsite installations as well his Parlour of Twlight room at the Gladstone Hotel

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