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Creative Global Network for the Visual Arts

AVI ROSEN
  • 62, Male
  • nesher
  • Israel
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AVI ROSEN's Friends

  • Marina Carvalho
  • Lila & Luiza
  • videoholica video art festival
  • Tammy Mike Laufer
  • Jan Kölling
  • valéry pasanau
  • Jill M. Armstrong
  • michal.brzezinski.net
  • Èva Jánosy
  • Adamo Macri
  • Gilad Ophir
  • Masha Yozefpolsky
  • Wai Kit Lam
  • Tatjana de Luxe
  • Mads Ljungdahl

AVI ROSEN's Groups

 

AVI ROSEN's Page

Profile Information

Website
http://www.sipl.technion.ac.il/~avi/cv.html
Relationship status
married
College / University
Tel Aviv University
Program / Degree
Ph. D. Art History
Graduation
January 10, 2010
Member type
Artist, Non-Profit
If you're an artist, what kind of art do you make?
Conceptual, Digital, Installation, Photography, Video
I am...
new media aertist and thinker

2008 - Time - space compression in cyberspace art - http://www.artciencia.com.
2008 - "DIGITAL SKIN" in the frame of BamaSmall video art display schedule Tel Aviv University.
2008 - Time - space compression in cyberspace art paper, has been accepted for Third International Conference on Consciousness, Theatre, Literature, and the Arts, May 2009, The Lincoln School of Performing Arts, University of Lincoln, UK.
2008- "DIGITAL SKIN" has been selected for Experimental film and video programme - a30th Festival International Cinéma Méditerranéen Montpellier. 24 Oct.-2 Nov. 2008.
2008 - "DIGITAL SKIN 2" has been selected for the competition section of the 13rd Canariasmediafest,
in Las Palmas de Gran Canaria, 28th October - 1st November 2008.
2008 - VIDEOHOLICA 2008 August in Art Biennial, Festival of Visual Arts, Varna Bulgaria. 7-15 August 2008.
2008 - Visions in the Nunnery, Bow Arts Trust. The Nunnery Gallery London. Ephemeral8. Exhibition Dates:Saturday 07.06.08- Sunday 15.06.08.
2008 - Netvision Institute for Internet Studies- The Second conference of PhD. candidates researching the Internet May, 27 2008.
2008 - The 9th annual scientific Oranim conference - Research, Study and Creative Activity at Oranim. June, 25? 2008. Oranim Academic College. "The Ultimate Cathedral" paper presentation.
2008 - CyBorg Film Festival , Video Art- Digital Skin 2, di Ephemeral8 4:25 Israel. 04-09.06. 2008.
2008- Interactive Comunities: Computer Games and Blogs. Communication class Lecture blog. Oranim Seminary
2008 -Interactive Museum Initiation of the TelerArt project. The Computer Networks Laboratory, EE Faculty, Technion IIT. Instructor:Hai Vortman, etudents: Alon Cohen and Adir Ben Shushan.
2008 - the 5th Naoussa International Short Film and Video Festival. Naoussa, Macedonia Region, Greece. from 8 to 11 May 2008, . Bits Of My Life - movile SCREENING PROGRAMME.
2008 - LONG STORIES FOR YEKATERINBURG 4 Russia.
o 2008 - The Electronic & Digital Art Unit (EDAU) University of Central Lancashire UK. Digital Aesthetic 2 Edited by Chris Meigh-Andrews and Aneta Krzemien. With introductory essay by Cinzia Cremona. Contributors include: Sean Cubitt, David Garcia, Gary Hill, Lori Zippay, Thomson & Craighead, Peter Appleton, Robert Cahen, Charlie Gere, Avi Rosen, Bill Seaman, Paul Sermon, Andrea Zapp and David Surman. ISBN 978-1-901922-67-7.

o 2008 - "New Reality? Virtual Reality Technology Implementation in Real World" The Open Univ. January, 24. 2008.

2007 - 'The Return of the Author' art-text.com. (Heb.).
2007 - 'Art at the Event Horizon' art-text.com. (Heb.).
2007 - Digital Landscape created While visiting the Genia Schreiber University Art Gallery Tel-Aviv Univ. Nov. 27, 2007.(Heb.html) image
2007 - Ynet blog (Hebrew). Stelarc third ear.
2007 - A Practical Model of Time Machine. Heb. Word text. Ynet blog (Hebrew).
2007 - Ynet blog (Hebrew). Net Pashkevil .
2007 - Ynet blog (Hebrew). The VR is the only Reality, or 'One Year After the War, Living in a Movie' Heb. Word text.
2007 - Ynet blog (Hebrew).'Thw World is Flat, or Living on a Membrane'. (html) Illustrated version. Heb. Word text.
2007 - JavaMuseum 2007. Forum for Internet Technology in Contemporary Art The Return of the Author.
2007 - BLINK project. In the blink of an eye the world can be changed, refreshed, made new for the eye that sees.
2007 - Ynet blog (Hebrew). The Digital Flaneur.
2007 - Ynet blog (Hebrew). Surface Surface on the wall.
2007 - 'Desert Generation'. Israeli Palestinian group exhibition for peace. "Beit Haomanim" Jerusalem. June, 6 2007.
2007 - Poster session The Future of the Research Tel-Aviv University May, 15 2007.
2007 - Avni Art Institute Tel-Aviv. Interactive Design Seminar, New Media Art Presentation. May, 8 2007.
2007 - 3rd Israeli Transhumanist Seminar ,"The Ultimate Cathedral" paper presentation on Friday, March 30. Bar Ilan University.
2007 - 'MOTAR' - Conference Faculty of the Arts, Tel-Aviv University - 26th and 27 th of March 2007. "The Ultimate Cathedral" paper presentation. Motar site.
2007 - The KABARNIT netart & "The Ultimate Cathedral" paper presentation. The Digital Aesthetic 2 (2007) University of Central Lancashire and Harris Museum and Art Gallery. The conference site http://www.digitalaesthetic.org.uk/.Friday 16th and Saturday 17th of March 2007. Presentation
2007 - The Yellow Submarine Spring before reserve duty group exhibition, Jerusalem.
2007 - Ynet blog (Hebrew).Digital SleepWalkers .
2007 - Ynet blog (Hebrew).Man of the Year.
2007 -HaystackYasmin, member.
2007 -Respond to 'Mobilized Art' Manifesto After War Educators- Oranim, 'Kav-Natui'magazine.
2007 -Digitalclub-clermont Image1 and Image2 .
2007 - "The Ultimate Cathedral" lecture Shenkar College of Engineering and Design, The Faculty of Design .Tel-Aviv, 9th of January 2007. Poster.
2007 - CTheory. "The Ultimate Cathedral" article - td047 - 1/3/2007
linked at:
Planetizen Radar, Archinect, Science, Culture and Integral Yoga

2006 - "Art No-Name" Ynet blog (Hebrew).
2006 - BLOCK 2, group exhibition, SKETCH pub Haifa. "Hangover" Ha'aretz.
2006 - GA2006 - 9th International Conference on GENERATIVE ART, 13-14-15 December 2006. Politecnico di Milano University Milan, Italy. GA2006 Proccedings, pp. 30-39. schedule GA2006 . PPT Presentation.
2006 - {:/selfportrait} - a show for Bethlehem - a show for Peace Casoria Contemporary Art Museum Naples/Italy and MAC - Museo de Arte Contemporaneo Santa Fe/Argentina. Biennale3000 Saopaulo , Brasil.
2006 - Art and Graphics lecture, in the frame of "Visualization and Animation" course (049003) Winter 2006-2007 EE Faculty Technion IIT.
2006 - UNAUTHORIZED ACCESS OVERVIEW SELECTED NET ART PROJECTS - CONCEPTS .
2006 - Art No-Name Exhibition Haifa University, Hecht Museum.
2006 - NewmediaFIX - texts and interviews - "The Ultimate Cathedral".
2006 - Artciencia.com, Ano II - Numero 5 - Novembro 2006-Janeiro 2007 ISSN 1646-3463 "The Ultimate Cathedral" .
2006 - MAEM 2006 MAEM 5__ 2006__V Muestra de Arte Electronico de Mostoles. 15-16-17 Noviembre de 2006. Spain. Cimulacra , and Body/Aura extension II presentation. http://www.liceus.com/cgi-bin/ac/age/5081.asp
2006 - PI - PERFORMANCE & INTERMEDIA . SZCZECIN-SWINOUJSCIE / POLAND.- Performance Intermedia Festival .A show for Bethlehem.
2006 - 'VII Computer Art Biennale' Teatr im. W. Siemaszkowej ,Rzeszow Poland.
2006 - The "Ultimate Cathedral"- rhizome.org.
turbulence.org.
2006 - Ynet - "Linked" Blog;
Artistic startup (Hebrew).
Open Code Art (Hebrew).
Total Recall - from MEMEX to MEME (Hebrew).
Whose Picture is It Anyway? (Hebrew).
Slow versus Fast (Hebrew).
The super surf (Hebrew).
Imprisoned in cyberspace (Hebrew).
On\Off line Art , (Hebrew).
The InterGod,(Hebrew).
The change in the phase of art matter ,(Hebrew).
The InterGod .htm file (Heb.)
2006 - The "Ultimate Cathedral", Hebrew 1MB .pdf file. English 150k DOC file. English 1MB PDF file.
English 0.5 MB PDF reduced Version file. From Stone age to Cyberspace, historic perspective of the Cathedral and the human icon in the arts. Ultimate Cathedral #1 Image. Ultimate Cathedral #2 Image (Barcelona Gaudi's Sagrada Familia).
2006 -"Art at the Event Horizon" - Chapter Thirty-Three, pp.340-351. in :Consciousness, Theatre, Literature and the Arts, Editor: Daniel Meyer-Dinkgrafe, Cambridge Scholars Press. ISBN: 1904303633.
2006 - The annual scientific 'Oranim' conference - 'Research, Study and Creative Activity at Oranim'. June, 13. Oranim Academic College. Presentation of "The return of the author" paper in the 'Cyberspace' session and "Art at the event horizon" paper in the poster session. "The Return of the Author" Cyberspace Round table.
2006 - The paper : "The Return of the Author", has been accepted for presentation at the International Symposium on Knowledge Communication and Conferences (KCC 2006) included as a Focus Symposium in the 10th World Multiconference on Systemics, Cybernetics and Informatics (WMSCI 2006) to be held in Orlando, USA, on July 16-19, 2006.
2006 - Camargo Cibernetico , Cantabria Spain. (May, 29 -June, 2). I International Electronic Art Festival of Cantabria Festival . Reports, (Spanish). ELDIaRIO Ques el arte electronico Camargo Cibernetico | Exposicion and I Festival de Arte electr?nico de Cantabria
2006 - Random Magazine - new media art / e-culture Forum Index "The return of the author" .
2006 -rhizome.org "The return of the author" .
2006 - Nettime "The return of the author" .
2006 - Art and IT - letiziajaccheri.motime.com "The return of the author" .
2006 - Virtual Residency - International Media Art Project
2006 - NewmediaFIX - texts and interviews .'The Return of the Author'.
2006 - JIP - JavaMuseum Interview Project .Interview with Avi Rosen.
2006 - The Institute of Noetic Sciences "The return of the author".
2006 - Winner of 'The Center for Special Studies', scholarship for the artwork- "BIG_OPTICS".
2006 - Israel Society for History & Philosophy of Science. conference, Jerusalem. "Art at the Event Horizon" . 'Digital Art Cyborg, Image, Sound and motion' session.
2006 - ://selfportrait - a show for Bethlehem. Interactive CD artwork. selected artists . MediaArtCentre, Cologne - Bethlehem, .
2006 - Muestra de Arte Electronico Campus de La Merced de la Universidad de Huelva , Spain.
2006 - "Art at the Event Horizon" at: artciencia.com . and "The return of the author" artciencia.com .
2006 - Cimulacra, presented at Opening Gates in Teacher Education: 2006 Meeting the Challenges in Education and Teaching . Second International Virtual Conference, Mofet Institute.
2006 - "Art at the Event Horizon" at: CTHEORY .
2006 - "Art at the Event Horizon" at: The Political Theory Daily Review , digg.com , rawsugar.com . reddit.com .
2006 - "Art at the Event Horizon" at: Loreto Martin - time is art . at: wood_s_lot . at: phaneronoemikon .
2006 - Connectivity: The Tenth Biennial Symposium on Arts and Technology The Ammerman Center for Arts and Technology was officially .Connecticut College USA. "Art at the Event Horizon", Accepted Work.
2006 - 'The Return of the Author'- Rhizome.org, and at - Turbulence.org, at Art.Report . subculturemagazine.com. IONS - Institute of Noetic Sciences.
2006 - DAF -Digital Art Forum, Tel-Aviv University, 'Art at the Event Horizon' presentation (Jan. 30th).
The Netvision Institute for Internet Studies .
2005 - 'Cimulacra', review in 'Ma Nishma be-Oranim', 'Oranim', the Kibutzim Seminar bulletin, No.126, Dec. 2005. p.13.
2005 'The Return of the Author', essay on the super-reader-auther in cyberspace. (English). "Shuvo shel hamehaber" .(Hebrew html file.)
links at "Ma'arav" News .
no-org.net Calendar .
2005 - 'Mobail Gallery' Art on Bicycle. Tel-Aviv, Nov. 3ed. Curator, Karin Mendelevitz.
2005 - First one to aquire MTAA's 1YPV Art Data. 1 year performance video . MTAA-RR site blog .
2005 - BIG_OPTICS in the frame of the project 'Netopticon' was part of the 'Observatori' 05 Festival of Artistic Investigation at Valencia in 4,5,6 November. Observatori 05 Festival .
2005 - Capturing Utopia'- The work 'ABC' was presented by projectors in the venue of Fournos, Athens, Greece from the 19th till the 25th September 2005.
2005 - prog:ME Rio de Janeiro, Brasil. BIG_OPTICS # 1,2 &3 presentation.
2005 - ART-NODE Art at the Event Horizon.
2005 - Turbulence- networked_performance_blog Real>>Mental>>Virtual.
2005 -T'es in T'es bat - France. net.art link to BOG_OPTICS.
2005 - Isola della Poesia / Isola Virtuale - 51ma Biennale di Venezia 2005. Poem -'I'. All the Poems of the Virtual Island, page no. 13.
2005 - NETOPTICON, NO-ORG.NET Project.
2005 - Cimulacra Interactive time & space compression.UK- Wales- Israel- Home.
2005 - webbiennial 2005, Istanbul Contemporary Art Museum Turkey.
2005 - Consciousness, Theatre, Literature and the Arts International Conference Aberystwyth, Wales, UK. Art at the Event Horizon papaer. Hebrew paper Power Point presentation.
2005 - Ben-Tovim Grant, Office of the Dean of Students, Tel Aviv University.
2005 - International Digital Art Awards exhibition selected.
2004 - 6 Computer Art Biennale, Rzeszow (Poland) 'ABC'. laser print (74X90 cm.) Wanda Siemaszkowa Theatre.
2004 -National Museum of Montenegro in Cetinje international artists WebArt new media show
2004 - WEBART- Present Simple Tense Yugoslavia.
2004 - KALAS (Keren Lekidum Segel) Grant.Oranim Academic College.
2004 - International Festival of Electronic Art 404 Rosario, Argentina
2004 - National Museum of Contemporary Art Bucatesti/Romania BIG_OPTICS Part of [R][R][F] 2004---->XP.
2004 - New Media Art Festival Bangkok/Thailand BIG_OPTICS Part of [R][R][F] 2004---->XP.
2004 - International Digital Art Awards exhibition IDAA NEW MEDIA FINALIST
2004 - REMAKES OF TRAVELLING a-site.org.
2004 - MACHINISTA 2004 Art from the Machine.
2004 - Videoformes 2004 XIXeme MANIFESTATION INTERNATIONAL D'ART VIDEO ET MULTIMEDIA. Clermont-Ferrand,France.
2003 - The Ministery of Education, advanced study Shlomi center. New Media Art lecture.
2003 - Cinematheque at MediaCentre Le Musee di-visioniste.
2003 - Group Exhibition. CENTRO DE ARTE MODERNO Madrid, Spain.
2003 - Group Exhibition. VCA gallery University of Melbourne, Australia.
2003 - THIRD PLACE GALLERY Sweden.
2003 - MAD?03 2nd international meeting of experimental arts in Madrid, Spain.
2003 - maem 2003. II muestra de arte electronico villa de mostoles, Mostoles, Madrid. Spain.
2003 - Les 16es Instants Video de Manosque,France. BIG_OPTICS, selection for the festival. Catalog.
2003 - Electronic Arts festival of Bogota Colombia. BIG_OPTICS, selection for the festival.
2003 - The FIFI 2003 selections (France) New Talents.
2003 - [diatopia] Stemnitsa, Arcadia, and art space GazonRouge, Athens and internet.
2003 - Stockholm Challenge BIG_OPTICS project participant.
2003 - Art Sublime Exhibition.
2003 - FILE- electronic language international festival. Brasil. Selected artists.
2003 - MAKOM - the omniplace. Interactive video online. Virtual space Video presentation of the project, including 3G Lullaby, Big_Optics & Makom. (3.4 MB .wmv file 3:0 Eng. & Heb.).
2003 - mt0003 - international forum medienturm Graz, Austria.
2003 - '3 Generations Lullaby'. machfeld.net, Viena Austria.
2003 - AmsterdamEditions*- artists run website.
2003 - BIG_OPTICS. Interactive videoart on line - (homage to Paul Virilio).
2003 - CODEART 2003 The Interdisciplinary Center Herzliya, Israel.
2003 - Gallerythe http://gallerythe.org/artist/rosen/rosen.html
2003 - international digital art awards (IDAA) Self Portrait 1,2&3 . Top 100 images.
Self Portrait 1
Self Portrait 2
Self Portrait 3
and other works dealing with time and space compression:
Self Interior#1
Self Interior#2
2002 - Experimental Poetry Performance and International Techno- Poetry SectionRome University III -DAMS, ITALY. New Media Poetry.
2002 - Curator of 'Siesta Games' - Ana Camusso & David Wapner Janco-Dada Museum, Ein - Hod, Israel.,MoreText (Spanish)
2002 - 'V Computer Art Biennale' Rzeszow Poland.
2002 - Body_Slide interactive work.
2002 EXPLORA, Digital Art Project 2002. Rachel and Israel Polak Gallery, Tel-Aviv Illustration of works . "Real, virtual and mental time and Space compression". ( 2.1 MB .wmv file 1:48 Hebrew)
20 Interlinked interactive multimedia 3D VRML virtual spaces, manipulated by viewers both hands, and a real time video monitor display of the viewers face, creates a real-virtual-mental closed loop space. Lecture "Time and Space compression in Cyberspace art". ( 3.4 MB .wmv file 2:53 Hebrew)
"Ha'aretz" 25.4.02 p. 87. (Heb. 640k .pdf file)
2002 - "Voice Control Artistic Guiding Robot", project, colaboration with the Control and Robotics lab in Technion EE Faculty. The robot preformed floor painting of a circle, square, triangle, house, line, pentagon etc. according to voice recognition commands. The robot operator is Orly Wigderson of Control and Robotics lab. This project implemented the "Voice to Art" idea proposed in "The Artist as a computerized man" Mahshevim, No.140 August 1993 .p. 31-32. Video ( 3.4 MB .wmv file 2:44 ).
2002 - international digital art awards (IDAA) PRESS#1, PRESS2 . image1. image2. Top 100 images.
2002 "who needs property?" Hebrew .doc text
2002 art-platform Gallery art-platform.com
2001 Pixxelpoint , Nova Gorica, Slovenia.Pixxelpoint. Video:"Self portrait" VIDE0 ( 3.8 MB .mp3 file 3:21 Hebrew).
2001, microMuseum.Body / Aura extension, Parallel space
Video: Untitled #1
2001 'Untitled#1' Video Art 4' 24". 14 es INSTANTS VIDEO MANOSQE. FRANCE. Video: Untitled #1 Chanell 2 "Kikar Hamedina" (5.0 MB. wmv file 4:16). catalog.
2001 CYBER ARTS INTERNATIONAL COMPEDIUM PRIX ARS ELECTRONICA 01, Lintz Aostria.Net & interactive section participation .
2001 Local chanell "Adasha Mekomit" ( 600 KB .wmv file 0:30 Hebrew).'Meimad Mishtane'- Art & Technology. Kastra Gallery Haifa. Interactive Virtual Self portrait
2000 Rosen, Avi. (2000) "FREE_ART site" in editor Hans Jorg Bullinger, Net Art Guide book. Fraunhofer Electronic Business Innovationszentrum pp. 62-64. ISBN 3-81675590-9. linkand ArtScope net .
2000 art-omma Dec. 00 -Jan. 01 issue.
2000 Wigged.net bi-monthly webzine that is focused on bringing innovative short videos, animations and interactive works over the internet.
2000 Pixxelpoint computer art festival- Nova Gorica, Slovenia
2000 Body/Aura extension, Amplifies artistic capabilities and range, using bluetooth technology.
more details. Presentation Video 4.3 MB 3:40 .wmv file EE Faculty Technion IIT.
2000 WWAR.COM World Wide Arts Resources.
2000 Consciousness Reframed 2000 Conference Centre for Advanecd Inquiry in the Interactive Arts (CAiiA), University of Wales College, Newport. 'Parallel Space' paper, and presentation.
2000 FILE - Electronic Language International Festival Museu da Imagem e do Som, Sao Paulo city, Brazil .
2000 Poevisioni 2000 - VIDEOpoesia e video digitali .
2000 ZINE new media - a journal of new media experimental visual literary theory practice.
2000 'When we were kids' Exhibition of the Haifa University Art department teachers. Image & text (Heb.) from the catalog.
2000 INFOS 2000 (off-line) "net.art" contest site open until the 15th of July. INFOS 2000 INFOS 2000 text.


2000 The Ninth International World Wide Web Conference (WWW9) Amsterdam. 'Parallel Space' paper, accepted within the "Advanced User Interface"session.
MEDICI Organization Site.
2000 Netzkunstler netzwissenschaft.de
2000 'IV Computer Art Biennale' Rzeszow Poland.
1999 VII International Biennale of Theatre Posters,Rzeszow Poland. The poster.
1999 "Just What is That Makes Today's Homes So Different, So Appealing?" Hebrew .doc text
1999 1st_Medi@terra_festival. 1999. Fournos. Athens / net section / sites .Free Art site.
The CD-ROM VR_BODY was pre-selected to enter the final face of the Mediterraneanand Balkan Festival.
1999 CYBER ARTS INTERNATIONAL COMPEDIUM PRIX ARS ELECTRONICA 99,Net & interactive section participation .
1999 University of Haifa, DEPT.of FINE ARTSMultimedia course site . Special award of the committee for educational innovations. Bulletin.
1999 - "Zombit" TV program, Special issue on Media art. ( 4.0 MB .wmv file 6:45 Hebrew).
Presentation of 'Art-Internet Interaction', MSc. thesis findings and the FREE_ART site. "Art should be free and available for all to download. Instead of standing in line for hours at your local Museums to see a collection that only rich people can own, the Internet provides the opportunity for everyone to participate. Here you can create your own art by rearranging the components of each work. All the artworks on this site are free for use, change and down load." "Parallel FREE_ART site" .
1999 - "Content and Idea representation in Virtual Environment" lecture, Ministry of Education and Sport. Invitation.
1999 The XI international computer art forum 'Computer Space' 99, Sofia, Bulgaria.
1999 "Parallel space" .Computer and Internet Interactive Installation Video:"Parallel space" 8.1MB .wmv file
1999 Artists and technology, "Meimad Mishtane" art exhibition, 'Beck' Science Center, Jerusalem. ''Variable Dimension' -- Invitation.
TV Ch 1. "Me-Hayom-Le-Machar", night news Jan. 17, 1999 .
1999 WWW ART SITE. DUCHINP
1999 'Kaye' college of education Be'er Sheva. participants (Heb).
1999 Educationhttp Ministry Art in Israel .
1998 'Haifa-Art' Internet center. Winner of Haifa arts foundation competition. "Kol-Bo" Newspaper. Oct. 2, 1998.
1998 Healing and meditation site. Background text.
1998 -The findings chapter. From the Thesis- Avi Rosen, 'Art-Internet Interaction' (Hebrew .doc file 800k).
1998 'Art-Internet Interaction'. Paper and demonstration of interactive multimedia VR art work. University of Wales College, Newport. CAiiA 'CONSCIOUSNESS REFRAMED II'.
1998 'New Order Art' paper and Virtual interactive multimedia Computer Art installation - The Fourth International Congress and Exhibition, Technion, Haifa Israel. 'ISIS SYMMETRY'. Hebrew Word text
1998 X International computer art forum 'Computer Space 98' and international symposium Sofia, Bulgaria. interactive multimedia VR Computer Art. 'The Violence of Information' and paper The Artist as a cultural identity provider
1998 "The Virtual reality and the Shamans world", Studio, 1998. Text ( Heb.).
1998 Education Culture and sport Ministry, "Virtual Museum" lecture and presentation. Virtual Art Lecture(Heb).pdf.
1998 "Art in computer environment" symposium. Holon Interdisciplinary Art-Science Center. Invitation(Heb).pdf.
1998 III prize 'III Computer Art Biennale' Rzeszow Poland warsawvoice text. VR_BODY1 print.
1998 International Festival for Architecture in Video Florence (Italy). "UNTITLED" VR multimedia Interactive work. image|architettura in movimento.
1998 "The computer - art link and the future" seminar. "Art and Internet" lecture. MARPAD Tel-Aviv Invitation ( Heb.).
1997 CYBER ARTS INTERNATIONAL COMPEDIUM PRIX ARS ELECTRONICA 97,Net section participation . "Letter(Heb).pdf. Fleshfactor Net symposium .
1997 "Shimshon and Delilah Now" Exhibition The Corine Maman Ashdod Museum. Computer multimedia Interactive VR space displayed in the museum and Internet. 1997 "The Post Biological consciousness", Studio No. 85. p. 11. Aug.-Sept.1997 Text ( Heb.).
1997 "Computer Art Aplications" The Education Ministry, Rehovot 17.6.97 ( Heb.)
1997 'The Virtual 3D Art Gallery on the Internet'. Paper and demonstration of multimedia Interactive VR art work. University of Wales College, Newport. Paper. CAiiA 'CONSCIOUSNESS REFRAMED' proceedings. ISBN: 1899274030. A html text.
1996 InterBet - Radio Chanell 2 computer magazine. Net Art- Interview with Avi Rosen & Ahuva Mualem.
( 6.9 MB .mp3 file 7:10 Hebrew).

1996 DNP AWARD'96 network art exhibition, Space5.
1996 Ciber@RT'96, Universidad Polit?cnica de Valencia, Spain.Participants.
1996 PRIX ARS ELECTRONICA 96,Net section participation .
1996 'Artist/Industry' Binyaney-Ha'uma,Jerusalem Catalog 'Art-Industry '95 Exhibition' Israeli Ministry of Education and Culture.
1996 Art in the Information Age The Gallery@PrePRESS . Computer works.
1996 The Shlomi advanced study center, Education Ministry. Virtual 3D Gallery.
1996 'Gallery on the Internet ? A New Era in Art.' One Small Step for the Mouse ? a Geat Step for Art. Avi Rosen "The Israel Museum, The Ruth Youth Wing Quarterly. No. 28. Dec. 1996. pp. 36-39. Jerusalem."Mishkafayn" (2.2MB). 2D image of the VR space.
1996 'HTTP://ART' 'Kol-Bo' 02/08/96 p. 90-92. (Heb).
1996 Exhibition of Artworks on the Internet. Students of 'Basic Design' course, The Faculty of Architecture and Town Planning in Technion.Exhibition.
1996 'The Virtual 3D Art Gallery on the Internet and computer art' lecture. Symposium of the Israeli Computer Music Forum (IL-CMF). schedule ( Eng.) The Center for Technological Education Holon Israel. Gallery.
1996 TV- MATAV - "Local lens"- VR Gallery on the Internet - Firts VR Internet Art gallery in Israel.
( 1 MB .wmv file 0:44 Hebrew).
1996 Technion FOCUS "Superbrush". (Eng. pdf).
1995 "The computer as a super brush" "BaMuseon". No. 11, Dec. 1995.(Heb. pdf).
1995 "Amanut-Taasia" -"Art Industry" Group Exhibition, the Israrli Education Ministry. Computer art. Catalog.
1995 'The computerized super-prush'- "Zman Tel-Aviv"(Heb).pdf.
1995 Initiative for National Internet Art Center "Kol-Bo(Heb).pdf. The Science and Culture Ministry correspondence(Heb).pdf. Eventually the initiative was refused, the Ministry representative informally proposed to run this project by me privately.
1995 BEYOND HUMACHINES "Bad Subjects" issue #18, Feb. 1995UC Berkeley. Paper on Art in technological era. BEYOND HUMACHINES mirror file BEYOND HUMACHINES.
1995 'Stormy Waters' Glasgow university Scotland. International Internet Art exhibition. 'Stormy Waters'
1995 SIGGRAPH Internet Art Guid click.
1995 Portraits in Cyberspace MIT Media Laboratory.Images.
1995 "PANIM": Faces of Art and Culture in Israel March/April 1995. Information Division, Israel Foreign Ministry - Jerusalem text(Eng). ARTE ISRAELI EN INTERNET (Spanish).
1995 - Interact-TV. Chanall 2 computer magazine, computer art section coordinator Video ( 3.6 MB .wmv file 3:05 Hebrew).
1994 Leonardo Electronic Almanac Volume 2, No. 12 December 1994
1994 'Mouse creativity' text(Heb). "Kuli" Studential newspaper Technion IIT. 6.11.94 P.4.
1994 Leonardo Electronic Almanac Volume 2, No. 10 October 1994
1994 Leonardo Electronic Almanac Volume 2, No. 9 September 1994
1994 SIGART-SIGGRAPH '94 statment regarding art and artists texts Eng. .pdf. (partial)
1994 Art on the Internet instead "Artfocus", published in ?Studio?, Israeli art magazine, no. 58, Nov.?Dec. 1994. p.10. text.
1994 - 'ISRAELI ART ON THE INTERNET'.Panim- Faces of Art and Culture in Israel - Israel Foreign Ministry.
1994 PRIX ARS ELECTRONICA 94,Computergraphic section participation.
1994 "Seriality/Randomness" Computer based installation, catalog Kalisher Five Gallery Tel-Aviv, Israel. speech text.
1994 "Computer Art Installation" "Bezalel 1" Art Gallery Jerusalem. March 17 - May 2, 1994 computer based installation Specially designed for the historic 'Bezalel' building , including computers video camera and large computer prints. Live video of exhibition visitors overlie computer graphic animation and synthetic speech. Images.(Heb.pdf)
Catalog.
press release .
IBM correspondence for the exhibition .
Video ( 7.0 MB .wmv file 6:00 Hebrew).
1994 ISEA94 Media Lounge, Helsinki Finland. "Tikshuv 2000" Net project presentation. text.
1994 'Art on the Net' Palo Alto USA . Call for artworks (Heb). Curator of the first Israeli artists exhibition on the Internet. group exhibition and a solo exhibition.
1994 National TV chanell 1, Dec. 14, 1994 "Mabat", Prime Time news - The first Israeli artists group exhibition on WWWW, initiated & published by Avi Rosen. ( a frame from the video).
YouTube (Heb. 01:47)
1994 'Art Gallery on Internet' WWW site of my artworks, first of this kind in Israel, published May, 1994. Dudi Goldman 'Internet a narrow junction', Yediot-Aharonot, financial supplement, Aug. 17. 1994. p. 8. text (Heb).
text (Heb).
1994TV- "Zombit" - Computer magazine, Educational chanall. July, 1994.
( 4.5 MB .wmv file 3:54 Hebrew).

1994 THE INTER-SOCIETY FOR THE ELECTRONIC ARTS, THE ISEA NEWSLETTER SPECIAL EDITION ISEA 1994 and Leonardo Electronic Almanac -Volume 2, No. 12mitpress Dec. 1994
1994 REIFF II Virtual Museum Aachen Germany. Internet Exhibition of my works.REIFF II
1994 - "Zombit" TV program, Special issue on Computer art. ( 6.5 MB .wmv file 6:45 Hebrew).
1993 - The Gabriel Sherover Information Center for Israeli Art at the Israel Museum, Jerusalem .
1993 FISE93 "Man-Machine" paper (pdf) "Man-Machine" paper) (html). THE ISEA NEWSLETTER , Minneapolis, MN. USA. The role of museums, the 'original', and the means of art consumption. Demonstration of on line global connection to 'Art Net' Israel . Minneapolis college of art an design FISEA 93 catalog p.41. Computer art Slide show participant p.44. program
1993 "Tikshuv 2000", an experimental peripheral community computer 'Art Net' - Carmiel, Israel. A 'Art Net' service included 'FREE DOWNLOAD' data base of my computer art works. Rivi Beler 'Mona Lisa in the PC' 'Ha'aretz' newspaper, Jun. 26, 1993. p. 3b. The Home page of the "Tikshuv 2000" art directory
text (Heb. pdf)
text (Heb. html)
text (Heb. doc) and, extra text & images
1993 Proposal for international computer "art net"- linking the New Yor Guggenheim Museum, The Metropolitan museum & NY MOMA to "Tikshuv 2000" Israelh project. Eng. text (.pdf)
1993 Proposal for computer "art net" in the frame of "IsraNet" Israeli national computer net. Heb. text (.pdf)
1993 The Israeli Information Processing Association (Igud Israeli Le Ibud Netunim) - annual conference. Presentation and performance of computer art. Oct. 25. 1993.
1993 "Center - Periphery" Ma'ase Choshev -Vol. 4, Oct. 1993.p. 54. text (Heb).
1993 "Computer Art" workshop,Education Ministery, Hamidrasha, Ramat-Hasharon. 2 days workshop 31.3.93 - 1.4.93 : Computer art trends, review of the "Arcadia", "The Artist as Channel","Frames", exhibitions and the Technion "Net-Art" project. Hands on computer art techniques. The virtual art vs the traditional art.(Cooperation with "Studio" Art magazine) invitation & schedule. ;-)
1993 "The Artist as a computerized man" Mahshevim, No.140 August 1993 .p. 31-32. text (Heb).
1993 'Maase Hoshew' - The Israeli Information Processing Association. Jan. 1993 "The computerized Artist - The Artistc Computer" (Heb).The Magazine cover design - Avi Rosen.
1993 "A matchbox enclosed..." Janco Dada Museum Ein Hod. Dec. 13, 1993.Invitation & images.
1993 "A matchbox enclosed..." An International Matchbox Show. Sept. 30, 1993. Computer animation of myself performing a respiration of matchbox, sent to me by the exhibition organizers. (the Yavne Art Workshop Gllery sent to artists all over the world empty matchboxes to convert it to art obkects). animation
1992 - Tel-Aviv Central bus station. Proposal for computer media installation at the station complex. The proposal was selected as one of the finalists. Proposal (part). (Heb. pdf 2.9. MB.)
1992 "Frames" the Gallery of Yavne Art Workshop . December 9, 1992. Computer based installation. First electronic artistic link between Technion and the Yavne gallery. Digital artworks downloaded manipulated, and printed by the Yavne visitors. Center periphery relations, and art consumer creation freedom were examined. Kol-Bo &'STUDIO' Art Magazine. Jan.1993. No. 40 p. 63. English text . Images from #Frames". The schem of project.
Doc.Heb. text.
One of the images Frame #1_92 downloaded from the Technion to Yavne.
Press release Hebrew pdf file. Curator text Hebrew pdf file.
1992 'Computer Art Net' (The first Israeli digital art public database).Faculty of Electrical Engineering extra Image Technion I.I.T. Haifa. 'Novell' network including my computer art. Limor Weisman, 'Electronic Van-Goch', 'Kol-Bo' newspaper, Haifa, Israel, Sep.9, 1992. p. 81. text(Heb).
1992 'The Golem and the Art creation' - 'Kuli',The Technion students newspaper, Oct. 20. 1992. The aspects of time & space compression in networked art. Text ( Heb.pdf).
1992 Proposal for a Interactive digital art project in Israeli Museums (Tel-Aviv, Jerusalem, Haifa, Hertzelia, Tefen) text & scheme ( Heb.pdf).
1992 'The Computerized Artist, The Artistic Computer'. Text ( Heb.pdf). 'Ma'ariv', 21.8.1992, Art and Literature supplement, p.2.
1992 'The Artist as Channel' Feb, 8 - March 22 . Computerized installation, two 'Amiga' computers, running animations, and large computer made prints. Art Gallery Haifa University. Catalog 1and Catalog 2 'The Artist as Channel', Art Gallery Haifa University Israel. 'STUDIO' Art Magazine, May 1992, No.33, p. 48. press release: English & Hebrew pdf file. Photos from exhibition
1991 "The Computer Era painting". 'Symposium' No. 1. September 1991. text.
1991 "Leaves" - "Alim", Artists' House Jerusalem. Computerized Video-Art work. 'Leaves' catalogue Artists'House Jerusalem 1991. Text from catalog ( Heb. & Eng..pdf),and animation. Participating artists list. Amiga 1000 computer, live video, TV broadcast, Genlock overlay of computer animation & graphics on live video. Video( 1.5 MB .wmv file 1:15).
1991 Tel Aviv Museum of modern art. Proposal for computer art installation at the Hellena Rubisteni pavilion. The project was initiated by Mr. Micha Bar-Am. Eventially the project was not realized because of Micha Bar-Am retirement from TLV Museum. Proposal text & Images. (Heb .pdf file 2.2 MB).
1991 Computerized Laser animation at the "Wings" Discotheque, in Haifa bay area.
1991 "The Count" Jerusalem Film Festival, 3:00 min. computer animation, including a computer synthetic speech. A sequance of the animation, was shown at "Zombit" - ( 6.5 MB .wmv file 6:45 Hebrew).
1990 "Arcadia" Haifa Museum of Modern Art. Curator - Johana Nikolau.(First Museal Computer Art exhibition in Israel.) Computer based installation , relating human machine relations, includes animation, synthetic speech, video monitors, large computer prints 13 X 3 meter.Irit Miler 'Computerized Arcadia'. 'STUDIO' Art Magazine. Jan.1991. No.18 p. 42. "Arcadia" Invitation . 'Computer Art' series of three lectures: The role of the computer, and the new media artist in the art world, the art establishment, the art consumer, the 'original' art work in network society. The lectures refered to computer art, video art, animation and TV. in the frame of 'Arcadia' exhibition. Invitation in the frame of 'Arcadia' exhibition. 'Arcadia' press release: English, Hebrew and Russian pdf file.
'Maariv', 21.12.90 p. 30. Exhibition guid .color Heb. .pdf file
Arcadia on TV:
Chanell 1. 'Matzav HaRuach' the Arts magazine, Dec. 23, 1990. ( a frame from a3.8 MB .wmv file 3:15 Hebrew).
Chanell 2. 'Avi Rosen - ARCADIA', Jan. 1991. ( 5.9 MB .wmv file 5:04 Hebrew).
Chanell 1. Dec. 1990. ( 2.3 MB .wmv file 1:57 Arabic).
Arcadia on Radio:
Galatz- Interview witk Kobi Meidan. Dec, 9 1990. ( 3.3 MB .mp3 file 3:28 Hebrew).

1990 "Computer Art" . Gallery of the Faculty of Architecture in Technion. 'Amiga' computer produced artworks, animation, prints and photos. 'Mabat-Technion'. Technion, Haifa. Dec. '89. Issue .38. P.25. images and Invitation.
photos from exhibition#1.
photos from exhibition#2.
photos from exhibition#3.
1989 Mabat Technion Dec. 1989, No.38, p. 25 "New Art" .(Heb. text & images.) "New Art" .(html)
1988 "Meitzag"- Multimedia computer Installation proposal for the Jerusalem, Tel-Aviv and Haifa Museums. Proposal .(Heb. pdf text.)
Tel-Aviv Museum respond letter .(Heb. pdf text.) part of the project was realized, at the Signal and Image Processing laboratory, EE Faculty Technion. "Ziggi" computerized robot, programmed to preform floor drawing Video ( 650 kB .wmv file 0:35 ).
1988 - Computer art (Amiga 1000). Digital "spiritual" Icons dealing with time and space compression, disappearance of the "Original" art object in the digital media era, dispersion of artistic data, and the physical world convergence in to the subjects consciousness. Images.
1987 Computer Art Vector drawing created with IBM PC AT Computer and 'Autocad' software and HP plotter. Signal and Image Processing Laboratory, Techniom IIT. Image1. Image2. Image3.
1987 Computer Art raster drawing created with "Gould" systems Real-Time video disk and image editor, printed on Sony Video Printer. Signal and Image Processing Lab, at the Technion. Image.
1986 Cabel TV art distribution initiative (pirate cable stations), in Haifa region. Scheme . The disappearance of the artistic object, the rise of the artistic pure idea. The artistic object populates simultaneously endless memory cells, spreads to endless no. of art consumers, reshaped to endless no. of new art objects. The redondance of the artist, and the art object, no substantial object to worship.
1985 - Computer art net plan. Chart & text (Hebrew).
"A master computer unit, control 'n' number of slave monitors/displays. The central multimedia Art data flows simultaneously from the center to the periphery. The art creation takes place simultaneously in 'm' locations. The whole act is saved in memory, to be replayed any time and place. This artistic performance signals the fusion or artistic content with the digital media means".
1984-5 'FAX ART'. PC computer artworks transmitted by fax from Jerusalem to Haifa. This act shows an alternative way of creation and distribution art. Ora Brofman, 'HTTP://WWW.ART,' 'Kol-Bo' newspaper, Haifa, Israel, Aug. 2. 1996, pp. 90-93. Scheme of the global fax art Scheme 1.
"International fax satellite network, that simultaneously transforms the artistic data. A single recorded artwork transmitted worldwide ('n' times to 'm' locations). This act abolishes the traditional notion of the artistic 'Original'. The artistic massage is being transformed to all subscribers using universal common language and means."
'BAIC'software code page of one of the computer images from global fax art page 1.
1984 "Young Artists' Exhibition" Artists' House Jerusalem. wood structure, "pixel" based fluorescent paper images Installation, including LED display and computer icons. Catalog "Young Artists' Exhibition" Artists' House Jerusalem, 1984. Installation., High res. Image . Jerusalem Post, 1984 July 13 .
1983 ASCII code Art Bezalel Art Academy Jerusalem. Abandoned building at the Jerusalem central bus station .
1983 "The Cave" Installation. Bezalel Art Academy Jerusalem. Enamel on iron works. Lithographs & Monoprints works. fluorescent sculpture "Anti-Matter".The fluorescent scin abolishes the physical dimentions of the sculpture, the mass converts to binary "pixels", or digital code.
1982 "Flow chart", "Self portraits", "Boolean Chart" works. Bezalel Art Academy Jerusalem.
1981 "Bezalel" Art Academy Jerusalem. Seminar on Time amd space compression and it's impact on Art Center-periphery relations. Art as a global digital close loop system. "The compression of time and space, will abolish centre's artistic monopoly, everyone will be updated with current art". Text from seminar notes. (.pdf Hebrew). statment from seminary. (.doc Hebrew).'"The time space commpression will abolish the Art centers monopoly.The global technology update will end the center-periphery dichotomy'
Schema from seminar notes. (.pdf Hebrew). Avi & sculpture view#1., sculpture view#2.
1979 'Creative Photography and Surrealism' . Avi Rosen and Itzhak Nuriel, Beit Hahayal, Tel-Aviv. Drawing on paper and mixed media: Polaroid shots of Osciloscop screens and Panda on graph paper. "Art works that perform a scientific fusion of mystics, parapsychology, astrology and philosophy." Image 1., Image 2., Image 4., Image 5. Image 6.
1974 Punch cards poems . Poems on punch catrds, hand write lyric poems on machine code hardware \ software suport.
1964 Exhibition of Jewish Community children in Warshawa Poland "Der Falks-Shtime" . A Jewish Yiddish newspaper June 24, 1964 page 3. (Artwork no. 13). photo of 1961 (age of 6). Poland, Gliwice the Jewish culture club. Self portrait water colors. Artistic distinction award (Polish).
About my artwork
on the web
Artists I like
Ezra Orion, Nam June Paik, Warhol, Duchamp. Beuys, Marina Abramović, Yves Klein,
Interests
Cyber culture. new media srt. video art. philosophy
What exhibitions are good at the moment?
MoMA | Marina Abramović: The Artist Is Present
Centre of the artworld:
online, nowhere and everywhere
Time ‎‏-‏‎ space compression in cyberspace art
Avi Rosen
avi@siglab.technion.ac.il


The term “time ‎‏-‏‎ space compression” was coined by David Harvey [1] in his book, ‎‎“The Condition of Postmodernity” (1989). It refers to speed-up in the pace of life, ‎while abolishing traditional spatial barriers. ‎
The industrial revolution introduced the railroad and the telegraph line, paving the ‎way for future changes in communications. It brought about the perceptual changes ‎needed in early twentieth-century culture for the rise of the new media that captured ‎communications: photography, cinema, radio and the telephone. The new "high-speed" ‎technologies were the origins of the modern “annihilation of space and time” upon ‎which nineteenth and twentieth-century perceptions of the real world depend. The ‎train and railway system caused distortion in the traditional perspective and sight. This ‎foreshortening of time and space, started by the train’s speed, caused display in ‎immediate succession of panoramas and objects that in their original spatiality ‎belonged to separate realms.‎
The accelerated viewer was able to perceive the discrete, as it rolls past the coach ‎window indiscriminately; it was the beginning of the synthetic glance philosophy. ‎J.M.W. Turner was one of the first artists implementing the time-space compression ‎aspects. In ”Rain, Steam, and Speed The Great Western Railway” (1844) Oil painting, ‎he confronted a "slow" ploughman in the field, with a high speed locomotive engine ‎diagonally crossing while causing a whirlpool to the pastoral landscape. ‎

J.M.W. Turner ”Rain, Steam, and Speed The Great Western Railway” (1844)‎
From: Wikimedia Commons ‎http://en.wikipedia.org/wiki/Image:Rain_Steam_and_Speed_the_Great_Western_Railway.jpg‎


The overall impression is of compression and distortion caused by the Doppler ‎Effect, as perceived by the artist positioned relative to the speeding locomotive, or on ‎a ship's mast at stormy sea, as Turner used to do for close experience of speed and ‎nature forces. This phenomenon of nonlinear time and space sensation, together with ‎industrial mass reproduction is a basis to the photographic and filmic vision and notion ‎of montage, as well to the non linear geometry implemented by Impressionists like ‎Édouard Manet in "Luncheon on the Grass" (1863). The male figures are dressed in ‎Charles Baudelaire’s flâneur fashion. The background woman who wades in a stream ‎is too large in comparison with the figures in the foreground; she seems to float. The ‎overall impression is lack of depth, reinforced by the use of broad "photographic" light ‎eliminating “natural“ shadows. ‎
The mobile accelerated eye and consciousness that swiftly jumps from point to point ‎will tend to focus on random details or to accumulate empathetic impressions of ‎tactile sensations. Similar nonlinear multifocal techniques were implemented by ‎Cubists such as Picasso, and Futurists such as Giacomo Balla who created a visual ‎analysis of objects made simultaneously from different spatiotemporal points of view. ‎The artist's acceleration and omnipresence transformed the process of artistic creation ‎to an almost religious significance because it involves restructuring of novel time and ‎space, a penetration into reality itself.‎ The Supermatist Kazimir Malevich ‎placed his “Black Square” (1923) canvas in the traditional position of a holy icon in ‎Russian homes. The black square symbolized the death of traditional art and nature, ‎deriving from Einstein's new relativity theory, speed of transportation and means of ‎communication. The implementation of mass production ready-mades like wallpaper ‎or newspaper cuttings into art compositions, potentially enabled a wide consumption ‎and presence of fine art. ‎

Kazimir Malevich, “Black Square” (1923). From: Wikimedia Commons
http://en.wikipedia.org/wiki/Image:Malevich.black-square.jpg
Artistic omnipresence caused by the compression of time- space leads to dramatic ‎change in artistic conventions such as Walter Benjamin’s “aura”. Mass production of ‎objects, instant spread and accessibility to all, made every myth instantly realizable. ‎The telephone, photography, movies and even traditional painting inspired by the new ‎technology cluster the most disparate data and images into one compressed new ‎reality of annihilated in-between spaces, and finds its highest expression at the viewer- ‎accelerated consciousness. When time-space is no longer experienced in Euclidian ‎manner, the gap between original and reproduction vanishes, as everything rolls past ‎the train’s coach window randomly. At the turn of the twentieth century Paul Valery ‎predicted: ‎
‎"Just as water, gas, and electricity are brought into our houses from ‎far off to satisfy our need in response to a minimal effort, so we shall be ‎supplied with visual or auditory images, which will appear and disappear ‎at a simple movement of the hand, hardly more than a sign." [2]. ‎

This compression effect was intensified during the twentieth century by the ‎electronic media technology. Marshall McLuhan described in “Understanding ‎Media” (1964) the global compression by communication reality to shape a “global ‎village”:‎
‎"After three thousand years of explosion, by means of fragmentary ‎and mechanical technologies, the Western world is imploding. During the ‎mechanical ages we had extended our bodies in space. Today, after more ‎than a century of electric technology, we have extended our central ‎nervous system itself in a global embrace, abolishing both space and time ‎as far as our planet is concerned. Rapidly, we approach the final phase of ‎the extensions of man - the technological simulation of consciousness, ‎when the creative process of knowing will be collectively and corporately ‎extended to the whole of human society, much as we have already ‎extended our senses and our nerves by the various media." (p. 19-20). ‎

Pop Culture and Pop Art are reflections of the global spatiotemporal compression. ‎Andy Warhol addressed in his art typical mass-produced commodities: soups, bottles ‎of Coca Cola, and shoes together with icons of common consciousness that flood the ‎media channels such as : the electric chair, Marilyn Monroe, Golda Meir, dollar bills, ‎and more. Madonna’s, Jeff Koons’s and Warhol's lifestyle and art, promoted them as ‎products of the global media and as celebrities. Art became an intangible object of ‎information and symbols consumed globally by “one-dimensional” subjects of “one-‎dimensional” global culture. The global culture consumption act is performed at ‎commercial centers such as malls, amusement parks and air terminals linked to the ‎global network of production, data and knowledge. The global net lifestyle is ‎imperative to grow new organs, to expand the human sensorium and body to some ‎new, as yet unimaginable, and perhaps ultimately impossible, dimensions (Jameson). ‎The reflections of the traditional three-dimensional global space are converted to ‎electronic digital information, displayed in real time on flat television and computer ‎screens at home, control rooms, and huge outdoor electronic displays, in the style of ‎New York’s Times Square, or Piccadilly Circus in London. Our vision, accelerated to ‎the finite speed of light, guided by our consciousness, controls the happenings of the ‎real world via electronic equipment, through making an instant “short circuit” between ‎action and reaction. The three-dimensional linear physical world, experienced by the ‎railway passenger, became an infinitely thin world of non-Euclidian electronic ‎information, examined by infinitely attenuated TV viewer linked to TV networks of ‎‎“digital highway”. Recent physical theories assert that the three-dimensional universe ‎is nothing but a membrane in multidimensional space. The flat TV and computer ‎displays, together with our retina and brain, are tiny segments of this torus-like cosmic ‎topology.‎
Nam June Paik made the video “Buddha” (1976-78), that is a sculpture of Buddha ‎sitting in a posture of meditation opposite a closed-circuit television image of him. The ‎video creates endless body reflections by means of speed-of-light technology, and ‎unites the TV image with the physical body. In his work “Buddha Reincarnated” ‎‎(1994), Paik upgraded the earlier work with Buddha meditating opposite a computer ‎screen. ‎

Nam June Paik, “Buddha Reincarnated” (1994).‎
From: http://thebuddhistblog.blogspot.com/2007_09_01_archive.html
The meditation does not take place through a direct observation but through the ‎electronic interface of a telephone, computer and modem. Buddha's body is ‎intertwined with electronic components that symbolize his incarnation to a cyborg that ‎catches his compressed surroundings by means of his super-positioned electronic ‎senses. The physical world and our bodies have undergone transformation and ‎compression into data distributed in cyberspace. The span of human arms and ‎consciousness is greatly expanded by means of electromagnetic waves of limitless ‎transmission range. In 1900 Karl Schwarzschild described an infinite space that can ‎be partitioned into cubes each containing an exact identical copy of our universe, ‎containing peculiar connection properties so that if we leave any one cube through a ‎side, then we immediately reenter it through the opposite side. This is actually the ‎experience while watching a TV program or playing video or computer games. ‎
The cyberspace surfer immersed in a Virtual Reality (VR) data sphere is equipped ‎with VR headset including display, earphones, microphone, data suit and data gloves ‎that connect him via computer to net hubs. His sensation is similar to the Scanning ‎Electron Microscope operator who alters the tested matter by his sight and cognition. ‎The surfer navigates within the electronic hyper-data that change while surfing. The ‎surfer becomes an artist creating worlds and events, thanks to the responsive data ‎sphere. The net surfer is anonymous, veiled by computer screen and headset hiding his ‎identity, ethnic origin, age, and other characteristics that are no longer significant in ‎cyberspace. His mind and senses are wholly isolated from the material world by means ‎of electronic equipment; the physical environment has lost its past meaning. He ‎remains alone; the other subjects, which accompanied him in the real world, become ‎avatars. There is nobody besides himself; everything is data. ‎
Jean Baudrillad argued that once one has passed beyond this point of detachment ‎from the real, the process becomes irreversible [3]. We will no longer be able to find ‎the objects and events that existed before the cyber immersion. We will not be able to ‎find the history that had been before cyberspace. The original essence of art, the ‎original concept of history have disappeared, all now is part of a real-time holistic data ‎sphere inseparable from its models of perfection and simulation. The cyberspace ‎compressed the time and space to a short circuit hyper-reality. ‎
Cyberspace is more real than everyday life; computer games are more fascinating and ‎alluring than the daily activities of school, work, sports or politics, and hyper-real ‎theme parks like Disney World and VR environments are more attractive than actual ‎geographical sites. The hyper-real symbolizes the death of the real, and the rebirth of ‎holistic reality resurrected within a system of digital data. History, sociology, ‎philosophy and art will never again be as before this point. We will no longer be able ‎to know, ever, what art had been before it compressed itself in cyberspace. We will ‎never again know what history had been before its aggregation in ultimate "MemEx", ‎the technical perfection of real-time holistic data memory. ‎
The permanent interconnection between both virtual and empiric worlds introduces a ‎new way of being and new ontological philosophy. Karl Popper's theory of the three ‎worlds is dramatically altered. Traditionally the classic world 3 of hypotheses can ‎never influence directly the empirical world 1 of physical "objects" and vice versa. To ‎achieve this, the mediation of subjective reality, human thoughts, feelings etc. of ‎world 2 is necessary. Cyberspace alters that fact. For example, a surfer may use an on-‎line internet application that controls and displays a mutation of DNA material or ‎integrated circuits embedded in biological cells. A theory of the function of these ‎circuits finds the way to world 3. Sensors (world 1) transmit feedback data from the ‎electro-biological cells. While the cyberspace is functioning, there is a real-time direct ‎feedback of world 1, world 3 and world 2 (the surfer). The electro-biological cells are ‎now part of surfer's extended body and his nervous system. Within interconnected ‎cyberspace, world 3 directly affects world 1, and world 2. Popper's original discrete, ‎linear relation of world 1, 2 and 3 becomes holistic real-time hyper-sphere. This ‎ontological shift affects artistic quantities and qualities which originally defined the ‎artistic object. Art work (world 1) can be controlled and altered by gadgets and real-‎time predictive software (world 3) causing art consumers to decide and act in the ‎creative scene (world 2). These acts create a closed loop 'duree' of art, interconnecting ‎the three worlds. The cyberspace can be comprehended as a container of Platonic ‎ideas that symbolizes the Platonic triangles and tables that emerge from mathematical ‎algorithms. The data can be manipulated, altered and copied by the demiurge (the ‎surfer).‎
Eduardo Kac's installation "Teleporting an Unknown State" (1994-2003) creates an ‎experience of the cyberspace as a holistic life-supporting system. In a dark room, a ‎pedestal with earth serves as a nursery for a single plant seed. Through a video ‎projector suspended above and facing the pedestal, remote surfers transmit light via ‎the Internet to enable the seed to photosynthesize and grow in the dark environment. ‎Another piece by Kac "Genesis" (1998/99), is a transgenic art installation that explores ‎the network relationship between technology, society, ethics, biology and myths. An ‎‎"artist's synthetic gene" was fabricated. ‎

Eduardo Kac, "Genesis" (1998/99).‎
From: http://www.ekac.org/geninfo2.html
The gene contained a Morse- encoded verse from the biblical Book of Genesis. The ‎verse reads: "Let man have dominion over the fish of the sea, and over the fowl of the ‎air, and over every living thing that moves upon the earth." This verse implies ‎humanity's domination over nature. Morse code represents the dawn of the ‎information age - the genesis of global time - space compression. The Genesis gene ‎was incorporated into bacteria, which were shown in the gallery. Web surfers could ‎control ultraviolet illumination in the gallery, causing biological mutations in the ‎bacteria containing the Genesis verse. After successive manipulations, the DNA was ‎decoded into Morse code, and into mutated verse in English. This art piece suggests a ‎new holistic interactive data sphere where the ability to change the verse is a reciprocal ‎symbolic gesture. ‎
The cyberspace signals Roland Barthes' "death of the author", the disappearance of ‎God and his hypostases—reason, science and law, while witnessing a fuzzy logic ‎determination in holistic, time-space compressed cyberspace. Meaning and ‎knowledge are not constant inherited values; rather, they gain new 'duree' of meaning ‎while we are immersed in real-time in the data hyper-sphere.‎
The Cyberspace data sphere is an extended dimension (hyperbolic) of the global ‎geography and the physical body, experienced by the surfer, cyber-flâneur. The ‎computer is a suitable metaphoric vehicle for consuming electronically compressed ‎cyber time-space. The cyber-flâneur passes through compressed data space-time ‎populated with avatars and virtual objects. As Charles Baudelaire’s nineteenth century ‎flâneur was a product of industrialization and modernity, a spectator of modern life in ‎the rising urban sprawl, he is an upgraded product of New Media; the cyber- flâneur, ‎an avatar - spectator of virtual data structures. He is an entity whose aim is to ‎disappear in the time space of the digital city - a viewer who is everywhere and ‎nowhere (superposition state) in possession of his anonymity. He is the one who ‎experiences the fuzzy ontology of cyberspace (cyber-aura), an immediate time space ‎where, as Paul Virilio argued “the moment of departure is compressed to that of ‎arrival”. The flâneur's 'duree' is an impression of endless movement captured by ‎passing through the social space of modernity, and projected on his mind. Super ‎positioned by electronic gadgets, anonymous cyber-flâneur motionlessly witnessing ‎digital data bases through their natural propensity for omni spatiotemporal presence ‎within the boundaries of cyberspace.‎
The evolution from being an artist-Flâneur in a slow world to a cyber Flâneur is a daily ‎occurrence for most of us. For example, experiencing a series of paintings along the ‎platform wall in a London Underground station, from a stationary train, has its banal ‎outcome. The train passenger looking out of the window notices a single discrete ‎frame of the series, and analyzes it according to traditional fixed semiotics. When the ‎accelerating train leaves the platform, the series of frames advances creating a 'duree' ‎of a filmstrip with a varied meaning. The impact of the Doppler Effect is noticed as in ‎Turner’s paintings. While the passenger looks at his cellular phone display, or his Palm ‎held computer, his sight and mind quantum jumps to a global superposition, via the ‎singularity of net hubs. ‎
The speed of the train leaving the platform released the passenger from the attraction ‎of the old, slow discrete world dominated by a dichotomy between objects and ‎subjects. The process of acceleration of the subject's consciousness increased through ‎radio and television broadcasts, nowadays reached its peak at cyberspace where it ‎propagates at the finite speed of light. This fact led to a dramatic turning-point of the ‎disappearance of the traditional author, artistic discrete object, and art consumer, and ‎the birth of the cyber-aura witnessed by the cyber-flâneur. The meaning of cyber art ‎and its cyber-aura according to traditional iconological and iconographical tools ‎turned irrelevant. It is now valued according to a system of fuzzy logic, dealing with ‎the concept of partial truth with values ranging‏ ‏between “completely true” and ‎‎“completely false". The cyber-flâneur embedded with digital gadgets can render the ‎chaotic data of cyberspace meaningful, from traditional to a holistic point of view, ‎while carrying out electronic reading mediated the by the central hub. That ability is ‎similar to the physical phenomenon of the Bose-Einstein condensate of atoms of a ‎substance uniting, at near-absolute zero temperature, to a unique “super atom” that ‎sustains super-fluidity and acts in symbiotic harmony. The passenger/surfer is ‎witnessing cyberspace as Pierre Teilhard de Chardin's “noosphere”, the "sphere of ‎human thought" as it grows towards a greater integration and unification, culminating ‎in the Omega Point- the maximum level of complexity and consciousness to which the ‎universe seems to be evolving. [4].‎
The cyberspace demonstrates Heidegger's “thrownness”, and Dasein being, when one ‎always finds oneself already in a certain spiritual and material, historically conditioned ‎environment (data-sphere), in the extended world, in which the space and time of ‎possibilities is always unlimited. The cyber data noosphere is the domain of ‎ephemeral8's “Bits of My Life” (BML 2008) video blog –“Impressions of a data ‎Flâneur‏"‏‎. Ephemeral8 systematically employs his cell phone, to create a video ‎documentation ‎‏"‏backup‏"‏‎ of his daily life occurrences. ‎


Ephemeral8, “Bits of My Life” (BML 2008). ‎
From: http://www.youtube.com/ephemeral8‎
BML is his eternal ‎‏"‏digital mummy‏"‏‎ located in cyberspace superposition, ready and ‎available for use by present and future generations. The videos are mostly as is, ‎unedited, and directly uploaded from his cell phone to YouTube.com site. The Bits ‎are the “meme” for further construction/deconstruction of net audiovisual mutual ‎memory sequences consumed by other cyber-flâneurs. Google, YouTube and its ‎partners become a giant hub, dominating cyber-culture, global networked economy, ‎surfers' language and behavior. The Cyberspace is an extension of ephemeral8's foot, ‎eye skin and nervous system positioned on torus-like topology. The hyper-sphere is the ‎stage for ephemeral8's “Digital Skin 2” video bricolage of his endless cyber voyages, ‎embedding digital personal data as an extra data layer of Google Earth and Sky. His ‎body and mind extension are part of holistic terrestrial and cosmic digital data strips ‎produced the satellites and space telescopes. The three-dimensional universe contains ‎discrete objects and subjects, imploded to an Orbifold, uniting cyberspace, ‎physical space and cognitive space as digital data displayed on the computer monitor. ‎The orbifold topology drastically transformed the traveling experience. Cyber ‎Flâneur's superposition existence positions him in no time on each location on the torus ‎envelope. “Digital skin” is a cosmic virtual extension of Marcel Duchamp's unfinished ‎‎"Big Glass" piece, described in the videos' sound track by Duchamp's own voice, ‎digitally compressed. The departure and arrival of locations on the art piece are ‎compressed to a singularity.‎
The unification of Cyber Flâneur and cyber data sphere is the subject of an interactive ‎network piece, “1 year performance video” (2004), by M. River & T. Whid. A live ‎video stream of the two artists reveals their acts in two isolated cells. Every surfer ‎entering the site witnesses the two artists according to his local time; for example, if ‎the entrance to the site is in the morning hours the surfer will witness typical morning ‎activities such as eating breakfast, exercising, reading the newspaper etc. Surfing late ‎at night, will reveal the couple while sleeping. ‎

M. River & T. Whid, “1 year performance video” (2004). ‎
From: http://turbulence.org/Works/1year/index.php
The network installation transfers the burden of closed cells detention from the artists ‎to the surfer. The performance will be completed when the surfer finishes one year of ‎accumulated participation, then he will gain a digital copy of the piece's data base. The ‎surfers do not know definitely whether the video stream is live, or recorded, or if the ‎artists are real people or avatars. The server control program chooses the footage to be ‎shown, according to the time of entrance, the number and frequency of previous ‎transitions, and the duration of each video clip. The control ability designates the ‎server computer, the network and the program as powerful Artificial Intelligence art ‎creators, exactly like the two artists. The two cells containing the artists are identical in ‎size, painted white, and lighted by neon. Even the contents of the rooms are identical: ‎a wooden bed, clothes hangers, a shelf, chair, table, thermos for drinks, towel, and ‎toiletries. The two rooms look as though they have a common virtual wall. There is an ‎option for opening, in parallel, a number of windows of the work, and follow the ‎artists in different situations at the same time. As the local time of the surfer’s ‎computer changes, it thus affects the two artists’ activities, converting the surfer from ‎passive spectator to an active director of the happenings on the screen. The surfer is ‎situated in the center of the electronic Panopticon, while the computer screen serves as ‎a peep-hole for the global data institution. The same is true for the two artists while ‎using their laptops in their cells. The mind and gaze of the surfer activates the two ‎artists, and vice versa. Without the actions and gaze of the surfers, the piece will not ‎be realized. The observers and the observed become bits of data in hyperspace, ‎condensing its bits to a super-atom, or holistic conscious entity. ‎
In conclusion, throughout art history since the industrial revolution, artists have tried ‎to perform time - space compression by means of their art. The artistic creation reveals ‎the powers at work in the universe, and enables art consumers to be united. For that ‎purpose artists used new philosophical ideas and accelerating technologies to extend ‎their body and consciousness to a cosmic span.‎
The cyberspace epoch fulfilled this impulse by turning attention away from physical ‎body extension, toward virtual structures of global digital data. In cyberspace artist ‎and each surfer are privileged to transform their mind and physical body to cyber ‎superposition. This revolution led to a radical change in the definition of artist, art ‎object and art consumer. Reality has again become, as in the distant past, a mixture of ‎the soul, dream, trance, and myth, together with the material tangibility of daily ‎existence. The cyclic concept of time-space that dominated prehistoric culture, and ‎were exchanged for logical, linear, Western concepts, returned to its mythological ‎starting point. All are now particles of “pure artistic” sphere, gathering at the ‎singularity of holistic consciousness in cyberspace hubs, the eternal habitat of art from ‎now on. ‎
‎--------------‎

‎[1] Harvey, David (1989). The Condition of Postmodernity. Blackwell, Mass.‎
‎[2] Paul, Valery (1991). “Pieces sur l'art, Paris conquete de l'ubiquite” in Walter ‎Benjamin, “The Work of Art in the Age of Mechanical Reproduction”. Hapoalim ‎publishing Tel Aviv.‎
‎[3] Baudrillard, Jean (1992). "Pataphysics of Year 2000". Originally published in ‎French as part of Jean Baudrillard, L'Illusion de la fin: ou La greve des evenements, ‎Galilee: Paris, 1992. Translated Charles Dudas, York University, Canada. ‎http://www.egs.edu/faculty/baudrillard/baudrillard-pataphysics-of-year-2000.html ‎‎(31.1.2007).‎
‎ [4] Pierre, Teilhard de Chardin (2005). The Phenomenon of Man. Nimrod ‎publishing. Tel Aviv.‎

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The 2ND AIIB ART Israel Internet Biennial

Initiator, Director, Chief of Production: Architect Dekel Goodovitch,

Curator: Prof. Siona Shimshi    Consultants: Dr. Avi Rosen. Moshe Amira.

Location: a virtual gallery space dedicated to the Biennial, designed by 3DVAS

Hosting: 3DVAS  Ltd. the firm selected to host and support the 2nd AIIB through its unique

3D platform enabling online exhibition of works of art in 3D museum spaces.

The platform also…

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Posted on July 27, 2012 at 18:44

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At 8:08 on September 26, 2010, Hanna Watts said…
Indeed ! :)
Where can i see your daily activity, here?
At 21:38 on September 25, 2010, Hanna Watts said…
Hi Avi, its a pleasure to meet you here as well... :)
At 7:37 on January 28, 2009, alison williams said…
thanks - can you send it to me soon? to my email as a download - i dont think it is a very big file yes? make an avi file please if possible

thanks
and join HEP group when you are ready?
regards
alison
At 5:59 on January 28, 2009, alison williams said…
dear Avi - may i screen Toad as part of human emotion project? let me know

all the best alison williams
HEP 2009
email alison_oblivion@yahoo.com

join group if you keen thanks
At 9:43 on January 21, 2009, michal.brzezinski.net said…
Avi can you give me your mail address? my is michal@brzezinski.net
At 9:58 on January 16, 2009, michal.brzezinski.net said…
hi

- i am interested in exchange video with you
my website http://video-art.pl
my screenings are in http://laznia.pl

warm regards!

m.
At 14:51 on December 1, 2008, Giulio Baistrocchi said…
Hi avi great to be in touch
g
At 7:10 on November 19, 2008, AVI ROSEN said…
Tnx,
It's a part of "corpuscollective" project:
http://www.youtube.com/user/corpuscollective
u do video art?
Avi.
At 6:29 on November 19, 2008, daniel chavez said…
well yeah there was something very very "normal and usual" about the video that I commented that really made me like it.
At 16:18 on November 18, 2008, daniel chavez said…
thanks man// how are you doing and what are you doing?
 
 
 

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