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Liskeard Public Hall (Host: Phil Rushworth)


Electronic Village Galleries Liskeard is an event showing three collections of new media art works by nationally and internationally known artists. The evening will be hosted by Phil Rushworth. Everyone is welcome to come and enjoy the artwork, food, wine and discussion.

The DVblog collection is curated by Michael Szpakowski and Doron Golan and it features works by: Martha Deed, Millie Niss, Steven Ball, Nathaniel Stern, Giles Perkins, Kerry Baldry, Robert Croma, Rupert Howe, Jim Punk, Donna Kuhn, Morrisa Maltz, Sam Renseiw, Liz Sterry, Eddie Whelan, Alan Sondheim
The Free Yourself? collection is curated by Ruth Catlow and Marc Garrett (Furtherfield) and includes work by: Rob Myers, Moddr, Karen Blissett, Julian Oliver and Danja Vasiliev (

The Time Landscapes collection is curated by Beryl Graham and features work by Susan Collins, Cary Peppermint and Leila Nadir (ecoarttech), Rachel Reupke, Thomson & Craighead

Fri, 20/05/2011 - 3:00pm - 9:00pm

Liskeard Public Hall, Cornwall

Featuring Collections: 

“Over the last six years DVblog has been posting, on a daily basis, curated QuickTime videos exemplifying the recent striking explosion of art video on the net.

Our policy has been flexible and eclectic enough to accommodate also the occasional advert, music video, documentary and gallery resident curiosity or wonder but our core project has been the net.

This selection attempts to offer a panorama of material we have been struck and engaged by in those years.
It’s partisan in that to some extent it’s a personal favourites list within that brief – to do justice to every angle would take days not hours.

Techniques and concerns vary widely from the in-your-face appropriations of JimPunk , the joyful performative madness of Rupert Howe’s Rendering of Anarchy in the UK in,  amongst other places, the London Underground, to the documentary poetic dreamscapes of Robert Croma and Millie Niss.

Also included is the second life dance/dreamwork of veteran Alan Sondheim,  datamoshing  from young US artist Eddie Whelan and much more.
When we say personal favourites we guess what we also mean is that for us it’s not only the exemplification of trends that matter here but also excellence in the conception and execution of each piece. We think each work stands out, before consideration of any illustrative value, for this excellence.

The collection as a whole is dedicated to the memory of Millie Niss, whose work we posted many times and who died, tragically young, in late 2009.”

Michael Szpakowski  and  Doron Golan  Feb 2011


Disscussion about collection - DVblog

#1 DVblog Collection Curated by

DVblog Collection
Curated by Michael Szpakowski and Doron Golan

Works by artists Martha Deed, Millie Niss, Steven Ball, Nathaniel Stern, Giles Perkins, Kerry Baldry, Robert Croma, Rupert Howe, Jim Punk, Donna Kuhn, Morrisa Maltz, Sam Renseiw, Liz Sterry, Eddie Whelan and Alan Sondheim

Zennor seems an interesting spot in terms of landscape, remoteness, experience of isolation, deterioration, possibly exclusion. Several thoughts invade at once: issues of mobilities, migration (migrating plants, closeness to the sea), Michel Foucault on bio-politics, Victorian times, and then environmental questions. How is labour manifest here, the working situation? And subsequently art and culture. Does the geographical remoteness, singularity and uniqueness repeat, provoke, induce, mirror, perform, activate a so-called local art, or local art scene. How does this geography invite us or even claim to re-visit concepts of the local, global, globalised – in art... ? And where does one speak from when discussing the local... ?

The DVblog Collection first of all seems to play with a flattening of material. This flatness occurs by providing a serial arrangement of QT movies, same format, all is moving image material, same viewing position if you like. This equality or democratic assemblage is underscored by the lack of an overall theme or concept that would “frame” the collection as a whole. The viewer, user or audience is then perhaps reinforced and recreated as one who chooses randomly, quickly zapping through “similar” (of course not so similar material when actually watching) videos, creating a viewing experience of almost simultaneously watching. [multiple windows > video mosaic]. Does the collection ask for distraction or precisely ask for “proper watching time” for each work, art movie?

British Beach Hut Miscellany. Snow Factory. Itown. If anything, then what the works do is to invite making links to other works, histories, communities. Resisting concise analysis (perhaps due to their contained mode, remaining small, gestural, grainy, a statement, a manifesto), they ask for laying a ground for ‘networking’, for accumulating, adding notes, references, ideas, stories, for un-doing art history, for speculating what surrounds them.

British Beach Hut Miscellany (1:36 min, 2006) by Giles Perkins. A glimpse on to beach hut culture in Britain. The huts are photographed/filmed from the point of view of looking at the front of the little houses (standing at the beach looking land-inwards). Most huts are closed, very few people appear in the shots. The huts are colourful, yet the super8 film introduces a slightly different colour palette, some kind of nostalgic sensation. My two immediate references: the first is Dan Graham ‘Homes for America’ (1965) which is part of Graham’s early “works for magazines”. In ‘Homes for America’ photographs of prefabricated suburban houses are arranged with text describing different models of these houses (A, B, C, D) and developing the combinatory system of them (e.g. DDCCAABB or BDCABDCA).

The second is the text Nostalgia for a Digital Object: Regrets on the Quickening of QuickTime by Vivian Sobchack, published in Millennium Film Journal No. 34 (Fall 1999): The Digital.

Snow Factory (53 secs, 2006) by Steven Ball. Snow factories, selling snow as a business? The absurdness of the video, and the business one might ask. The artist selling snow… David Hammons “Bliz-aard Ball Sale” (1983) where he performs among other vendors in downtown Manhattan selling snowballs priced according to their size. 

There is also a strong poetic element. The shortness of Snow Factory seems to be about or deal with what you miss, what you cannot see – understand, what lies beyond the time-space of the movie = screen. A hint to notions and strategies of the cinematic out-of-field.

Itown (2:32 min, 2001-4) by Nathaniel Stern. My references: Gilles Deleuze’s essay “He stuttered” in his book ‘Essays critical and clinical’ (1997) – on the writer who, instead of the character, becoming a stutterer in language, and then on how to reach or provoke the limits of language itself, creating a state beyond being a writer – (p.113:) “the words of a poet, the colours of a painter, or the sounds of a musician.” 

Early Vito Acconci’s performance-based videos (intimacy of video space, inter-personal transactions, voice, violence).

Curated by Beryl Graham

New media is often assumed to be the antithesis of all that is rural or natural – a quick and shallow ‘virtual reality’ for city slickers, which doesn’t even approach feeling the sea spray on your face, or just ‘being there’. Yet, there many layers of artificiality and man-made intervention lurking in the landscape – is that coastline restricted by the military? Is that woodland ancient semi-natural, or carefully sculpted for clients owning a country estate? Are those seaside watercolours and those photographs of farmhouse Bed and Breakfasts carefully editing out any sign of modern functionality, such as the electricity pylons? When it comes to art, new media artists still have a strong interest in landscape, and are able to use the characteristics of new media to reveal different layers of reality. This includes those layers which are not visible to the naked eye, and might be expressed as data – for example layers of numbers concerning invisible pollution, appearing as the glitches in landscape images. The connected nature and global reach of the internet also enables the artists here to play with time and space: Pollution is monitored live in real time; from a village in Cornwall, you can see the temperatures in all corners of the globe, right at that moment. Being ‘live on the internet’ does not of course always mean huge speed: these Harewood landscapes are drawn more slowly than a watercolour, and the contemplation of Pico Mirador national park unfolds to the leisurely pace of webcam refresh rates. Take a seat at a screen, and contemplate the sublime mass of data that is the internet …

  • Harewood


    2008-2009, Website of archived images from webcam (additional archived images running from hard drive)

    Landscape is often characterized as natural, ancient, and real-time, but Susan Collins’ recent webcam works question all of these things, and slowly, very slowly, produce odd and haunting images.

    For over a year, a camera overlooked Harewood House’s landscape, carefully crafted by ‘Capability’ Brown to appear ‘natural’. The webcam recorded and transmitted live images, at the rate of a pixel a second so that a whole image represents the previous 21.33 hours. Each image spans dark, dawn and dusk in horizontal bands, stretching the time horizon, and inviting meditation in a world where technology is most often associated with breakneck speed. This web site presents archived images from the 2008/9 project, but see the artists’ site for more live projects.

  • Eclipse


    2009, Web site which gathers data from elsewhere on the internet

    Sometimes, pictures are worth a thousand bits of data. Eclipse uses ideas of landscape together with the ability of the web to connect images to bits of data, concerning, in this case, ecological systems.

    If the user selects a national park in the USA, the software searches the photography site Flickr for images of that landscape, then uses live data on air pollution in that region to ‘corrupt’ the image. The higher the levels of pollution, the more visual glitches occur. The work of ecoarttech (Cary Peppermint and Leila Nadir) often deals with ecological or landscape issues, from urban hikes to odd videos of rural living.

  • Pico Mirador


    2003, Web site responding to time of day (UK time)

    Web-cams, with their clunky low-resolution and glacial ‘refresh-rate’ timing, might seem scant fodder for artists, but Rachel Reupke here revels in the beauty and narrative of the webcams provided by the fictional Pico Mirador National Park. Rachel Reupke’s work has dealt with the romantic conventions of film landscapes, including Hitchcock’s use of scenery as a story-telling device, loaded with psychological metaphor.

  • Weathergauge


    2005, Web site which gathers data from elsewhere on the internet

    All over the world, strangers talk only about the weather.  You can be in the middle of nowhere, but be online. Chatting on Skype with relatives in Australia, we compare the sunshine or rain at that very moment.

    In Weather Gauge, numerical weather data from dozens of places simultaneously forms an array of animated data which is strangely evocative. Jon Thomson and Alison Craighead make art using any technology necessary, from Google teatowels to connected pianos.


Disscussion about artwork - Weathergauge

#2 Thomson & Craighead

Thomson & Craighead (2005)

Light movements, numbers, changing data, blinking signs, blinking text on screen... Weather Gauge begins by listing various cities, locations from all over the the world. Vienna, Capetown, Copenhagen, Istanbul, Luanda, Mexico City, Paris, Colombo, Gibraltar, Taipei, Kigali and many more are arranged in a grid, as white text on black screen (digital surface) forming knots of intersecting vertical and horizontal lines. Flat world/text world. These cities loose their definition to a certain degree, their particularity, their precise location – a world map for example, as opposed to this abstraction through a list and regular grid, would reveal their geographical and/or territorial relations to each other. 

The texts forming the first image are however immediately replaced by numerical weather data from over 150 countries. Following a movement of a reading (left to right, next line, left to right, next line, and so on) there appear data in centigrade, Fahrenheit, local-time, and back to the city of origin, with the numerical codes blinking in a menacing neon green colour, interrupted by the ‘straight’ and minimal white texts (city names, references to locations). 

The rhythm as well as the systematic writing, reading and erasure of present (life) information, evokes the irreducibility of environmental data and at the same time this allows for grasping the momentary, fleeting and constantly transforming tectonic movements – there is nothing to hold on to, a measure can only be relative, in process. This is a process that goes hand in hand with the process of the weather data replacing the location, putting forward a sense of an increasing and infinite pulse that encompasses the globe. Through the blinking signs which map the data flow and the informational, and the circular mode of the screen work, the accuracy of the facts becomes almost redundant or to a certain degree insignificant. To me, the force of Weather Gauge made by Thomson & Craighead in 2005, lies in that it expresses a non-spectacle, and in giving a sense of removal of (accurate, significant) information as it is displaced by a play of various weather elements and signs, seemingly animated, perhaps random, definitely in flux. Maybe this flattening and diverting of data, weather, and also location (as well as its variability) is also an un-forming and re-forming of our subjectivities in-formed by being on the move - a migrational subjectivity.

Curated by Furtherfield

Free Yourself?

Each work in this small collection connects with some aspect of freedom and identity in the Internet age: freedom to collaborate and to use, modify and redistribute popular consumer technologies, software and media. These artists are social hackers, taking the new tools and conditions of our digital culture to reflect on and remould our values and relations.

Rob Myers's Urinal is a downloadable 3D model of an artwork to print and remix, released under a free licence (which belongs to the family of licences that underpins the production of Free and Open Source Software around the world). Urinal forms part of a series of shareable DIY ‘readymades’ for an era of digital copying and sharing. Iconic objects from the history of appropriation and remixing art are recreated as 3D digital models. Users can then download and send the digital model to 3D printers via the Internet to receive their own physical artwork through the post, at a scale of their choosing. This is a playful extension of Marcel Duchamp's experiments with concepts of originality, ownership and value in the art world.

Compared with early utopian projections of a networked global world like Good Morning Mr Orwell by Nam June Paik (on New Years Day 1984 people around the world received a live, avant garde TV performance event, straight into their homes via satellite), these days artists often reflect in a darker mirror. Moddr's Web2.0 Suicide offers us a one click means to 'de-friend' and disconnect from our social media networks (Facebook, Twitter, Myspace, Linkedin) and to get our real lives back. This dark-comic website keeps a running count of the millions who have already been de-friended and also provides documents of legal wranglings, that offer an insight into corporate understandings of what it means to be 'social' and what it means to be a 'friend'.

Newstweek by Danja Vasiliev and Julian Oliver proposes to free us from mass-media illusions on the principle that a reality created solely by large media groups makes us vulnerable. This inconspicuous device is able to hook into open wireless networks to intercept and replace the words of content provided by trusted news sources; tweeking the relationship between the message, medium and consumer.

Each of the artists works in the new social spaces of the World Wide Web as a way to bring us, the audience closer, to involve us in the making of the artwork. In July 2010, Karen Blissett a regular contributor to a number of artists' email discussion lists issued an invitation for people to 'join her', saying that she wanted 'to become more open and free, with a more distributed identity'. People were invited, via a number of email lists and social networking sites, to email her and in return, if she trusted you, she would share her googlemail email password with you. You could then 'express her' by writing and acting as her, in online social spaces. This has given rise to a multiple-voiced manifesto and multi-media stream of consciousness and actions, including video portraits of may people as Karen. For Electronic Village Hall she extends her invitation to the people of Cornwall.

Why not join her and Free Yourself?

  • Urinal


    2011,  3D model, Digital Image, A4 Print out of the Creative Commons licence

    Urinal is a computer model of a urinal under a free-as-in-freedom licence.  Anyone can create their own physical instance of the virtual object using a 3D printer, and many people already have.  It can be used as a cup or to decorate model railway restrooms but it is often used as art. This piece references  the history and production of conceptual art and the economic model of the contemporary artworld.

    Commissioned by Rob Myers, model by Chris Webber, Creative Commons Attibution-Sharealike 3.0 Unported.


    Credits: 3D Model by Chris Webber Copyright 2011 CC-BY-SA 3.0 Unported,

    Commissioned by Rob Myers.

  • Web 2.0 Suicide Machine


    2009,  Website, Video: 3m 34sec

    The Web2.0 Suicide Machine lets you effectively delete all your energy sucking social-networking profiles, kill your fake virtual friends, and completely do away with your web2.0 alterego. Services currently run with, and; simply enter your username and password for the required service, and our machine will systematically login to your account, change your profile picture, and then one by one delete all of your friends. Once you hand over your log-in details and click

    Commit, the program will methodically delete your info - much like users could do manually. What remains is a brittle cyberskeleton: a profile with no data. Testimonials range from joyous farewells - "Goodbye, cruel world!" - to good-riddance denouements ("Thank you, microblogging. You are, in fact, totally useless").

  • Newstweek


    2011, Website

    "The very idea of news, as a socio-political ideal of being 'aware', has always been a target of modification: government lobbies, corporate lobbies, and political dispositions. Once lifted off paper into the network domain - once digital - it is truly up for modification. A device like Newstweek could be used for activism in this case, a means for citizens to 'fix back' the facts, to improve and/or correct the news, as it comes off the digital press."

    "A strictly media-informed reality is a vulnerable reality."


    Quotes by Julian Oliver and Danja Vasiliev on the newstweek website

  • Being Multiple


    2010, 3 videos, 40sec, 24sec, 1m13sec, A1 poster, business cards

    Karen Blissett was originally born on the 3rd of May 1991 at exactly the same time that the first successful double head-heart transplant was being carried out in a hospital in London. 

    Her parents are the neoist artists, Karen Eliot and Luther Blissett.  They are only interested in art and politics not in how Karen spends her days on the Internet.

    Dear Friends.

    Please join me.


    I want to become more open and free, with a more distributed identity.

    So if you would like to take a break from yourself and speak and act
    as me instead, please drop me a personal email.

    If I trust you I will send you my password and you can start expressing me.

    Can't wait!

    Karen Blissett

    Open, Free, Public and Distributed at last.

    "When Karen made her statement about opening up her email address, my first reaction was distress. My next reaction was sheer pleasure that something had shocked me so much. And then curiosity set in as to why."


    If emailing Karen, please replace AT with @