The Drive Scroll screen saver directly displays the unprocessed raw data from a disk drive as a scrolling image or video. The data is copied to the frame buffer without interpretation or conversion. [2001 release, tested July 2008 on WinXP].

Within this global grid a company named eBay became the largest marketplace, with very local marketspaces. eBay is romantic and seductive, not like the local fleamarkets in Paris (Le marché aux puces de Saint-Ouen) but sexed up a million times bigger and spherically transcended, much more effective and thoroughly commercialized. We love it! "The Sound of eBay" is the affirmative high-end low-tech contribution to the atomic soundtrack of the new peer-to-peer hyper-catastrophic shock-capitalism.

Game, game, game and again game is a digital poem, retro-game, an anti-design statement and a personal exploration of the artist’s changing worldview lens. Much of the western world’s cultural surroundings, belief systems, and design-scapes, create the built illusion of clean lines and definitive choice, cold narrow pathways of five colors, three body sizes and encapsulated philosophy. Within net/new media art the techno-filter extends these straight lines into exacting geometries and smooth bit rates, the personal as WYSIWYG buttons. This game/artwork, while forever attached to these belief/design systems, attempts to re-introduce the hand-drawn, the messy and illogical, the human and personal creation into the digital, via a retro-game style interface, Hovering above and attached to the poorly drawn aesthetic is a personal examination of how we/I continually switch and un-switch our dominate belief systems. Moving from levels themed for faith or real estate, for chemistry or capitalism, the user triggers corrected poetry, jittering creatures and death and deathless noises. In addition each level contains short videos from the artist’s childhood, representing those brief young interactions which spark out eventual beliefs. Game, game, game and again game is less a game about scoring and skill, and more an awkward and disjointed atmospheric, the self built into a jumping, rolling meander of life.

Hidden secrets, multi-dimensional layering and more gorgeous fun than most fingers and eyes can absorb. These interactive layers are packaged by our obsessions with objects and their terrible dark betweens. Between Treacherous Objects uses the screen landscape to build complex 3-dimensional architectures. Each space is fully controlled by the user's movements, encouraging them to move in and out, and around BTO's patterns and animations. In addition, each page contains secret codes which when entered open 1950s edutainment video clips. What I love most about this digital artwork is the way it transforms the flat screen to become a living creature, an alive artwork, with depth to space and theory. And the objects which separate the patterns symbolize our obsessions with consumer culture, and the psychological power of purchasing and cliché cultural fabrications.

We generate money by serving Google text advertisments on a network of hidden Websites. With this money we automatically buy Google shares. We buy Google via their own advertisment! Google eats itself - but in the end "we" own it! By establishing this autocannibalistic model we deconstruct the new global advertisement mechanisms by rendering them into a surreal click-based economic model. After this process we hand over the common ownership of "our" Google Shares to the GTTP Ltd. [Google To The People Public Company] which distributes them back to the users (clickers) / public.

in absentia is a web-based writing project that addresses issues of gentrification and its erasures in the Mile End neighbourhood of Montreal. The work combines HTML, javascript and the Google Maps API to create an interactive non-linear narrative of interconnected “postcard” stories written from the point of view of former tenants of Mile End forced out by gentrification. This project features new fiction in both English and French by J. R. Carpenter with guest authors: Lance Blomgren, Andy Brown, Daniel Canty, Alexis O’Hara and Colette Tougas. New stories will continue to be be added into the all of 2008. n absentia is a Latin phrase meaning “in absence.” I’m drawn to the contradiction inherent in being in absence. In recent years many long-time low-income neighbours being forced out of Mile End by economically motivated decisions made their absence. So far fiction is the best way I’ve found to give voice these disappeared neighbours, and the web is the best place I’ve found to situate their stories. Our stories. My building is for sale; my family may be next. Faced with imminent eviction I’ve begun to write about the Mile End as if I’m no longer here, and to write about a Mile End that is no longer here. By manipulating the Google Maps API, I am able to populate “real” satellite images of my neighbourhood with “fictional” characters and events. I aim to both literally and figuratively map the sudden disappearances of characters, fictional or otherwise, from the places, real or imagined, where they once lived; to document traces people leave behind when they leave a place, and the stories that spring from their absence. in absentia is a web “site” haunted by the stories of former residents of Mile End, a slightly fantastical world that is already lost but at the same time is still fully known by its inhabitants: a shared memory of the neighbourhood as it never really was but could have been. Themes of place and displacement pervade my fiction and electronic literature, yet place long remained an abstract, elusive notion for me. Perhaps because for many years I wrote about long ago places attempting to inhabit pasts that could never be mine. Mapping the minutia of my most immediate surroundings has made my notion of place less abstract and more socially engaged. Writing about my neighbours has made me aware that I write from amongst them, thus engendering a "we" point of view. Increasingly, my work is collaborative. In in absentia (June 2008) I join a cast of writers from my neighbourhood to pen "postcards" to and from former tenants, fictional or otherwise, displaced by gentrification and it's erasures. in absentia also marks the end of DARE-DARE's Dis/location: projet d'articulation urbaine in the Mile End's parc sans nom. The mobile office will leave the vacant lot that was its home for two years and move towards Montréal’s dowtown, in Cabot Square, corner Sainte-Catherine and Atwater. http://dare-dare.org

a one-month haunting of rhizome.org user: ghost@rhizome.org (rhizomeghost@gmail.com) pass: boobooboo

TODAY is a piece of generative design for mobile phones. It’s an application that visualizes personal mobile communication. It sits on the periphery of the machine, monitoring our connectivity through the number and type of calls we receive, subtly displaying them back to us, in the form of a generative graphic. Here, the visual result is a figurative and seemingly abstract picture – the story of your day. Some days will be really colourful and wired, others quieter and more reflective, either way the resulting visuals will always be personal, unrepeatable and unique. What lies at TODAY’s core was the idea of using personal data as the basis for an aesthetic system, while providing individuals with a visual diary of their communication patterns. It’s an intimate piece that ‘lives’ in your pocket. It's freely distributed for Symbian phones at today.cada1.net Credits: A Project by CADA Idea and Design: Sofia Oliveira/Jared Hawkey Symbian Programming: Heitor Ferreira Site Developer: Damian Stewart Second phase of development funded by DGArtes, Ministério da Cultura, Portugal

it is paradoxical to tie a truth so intimate as that of self-consciousness (the return of being to full and irreducible sovereignty) to these completely external determinations. Yet it is easy to perceive the deep meaning of these determinations if one returns to the essential without further delay. In the first place, the paradox is carried to an extreme owing to the fact that politics considered in terms of "the dominant international economy" only aims at an improvement of the global standard of living. It is in a sense disappointing and depressing. A point must be uncovered where dry lucidity coincides with a <a href="#" onMouseOver="MM_showHideLayers('wtclayer1','','hide','ansazi1','', 'hide','antw1','','hide','antw2','','hide','models','','hide', 'distancecol','','hide','windsat','','hide','viewnorthfrom','','hide', 'upinfog','','hide','interior','','hide','inprocess','','hide','maddie','', 'show','sophie','','show','spaceoftheOTher','','hide','nowritten','','hide', 'bhabha1','', 'hide','bataille1','','hide','polarch','','hide','bhabha2','', 'hide','wtcanimlay1','','hide','refsopen','','show','refsclosed','','hide')">sense of the sacred. This implies the reduction of the sacred world to the component most purely opposed to things, its reduction to pure intimacy.

A statement of propositional logic which holds for all truth values of its atomic propositions

Attention Hog is built on the model of “casual games”, a rising industry and pastime. The player is cast as a pig whose goal is to capture the love and attention of as many people as possible. The game’s subject reflects some of the social and psychological trends present in social-networking communities, including self-promotion, social anxiety, obsessive need for peer validation, and distraction as entertainment. The game operates on a conventional level, and can be shared with others and embedded on web pages, blogs, and social-networking sites such as Facebook and MySpace.

Includes custom Poser characters of the Seventh Life (basic male and female), as well as OBJ BVH files to aid in the creation of similar models in other 3D BVH files to aid in the creation of similar models in other 3D and BVH files to aid in the creation of similar models in other 3D applications.* These models can be used BVH files to aid in the creation of similar models in other 3D to generate more accurate character animations for upload Poser characters of the Seventh Life (basic male and female), into Seventh Life. Additionally, they can be used as mannequins to test clothing and other related textures without requiring logging in to (basic male and (basic male and Seventh Life. Download the below zip file* with all 121 animation BVH files used for basic movement(basic male and (basic male and (basic male and and gestures in SL. Please note: Many of these animations will not look quite the same in Poser as they do inworld.(basic male and

რა არის უნიკოდი?

უნიკოდის ყოველ სიმბოლოს შეესაბამება უნიკალური რიცხვი,
არა აქვს მნიშვნელობა რომელი პლატფორმაა,
არა აქვს მნიშვნელობა რომელი პროგრამაა,
არა აქვს მნიშვნელობა რომელი ენაა.

ფაქტიურად, კომპიუტერებს ურთიერთობა აქვთ მხოლოდ რიცხვებთან. მათ ნებისმიერი ასოსთვის ან სიმბოლოსთვის გამოყოფილი აქვთ უნიკალური რიცხვი. უნიკოდის გამოგონებამდე არსებობდა ასობით სხვადასხვა სახის კოდირების სისტემა,

Mypocket discloses the artist's personal financial records to the world by exploring and revealing essential patterns in the daily transactions of his bank account. These are the records that we usually keep secret, whereas financial institutions intensively analyze them to score our credibility. Archived on the site, the artist's two years of spending history is analyzed by the custom software to predict future spending; these predictions sometimes determine his future choices, creating a system in which both the software and the artist adapt to one another. Influenced by today's techno-cultural milieu, Mypocket presents a hybrid interface to a living physical/digital process.

While the olympic curtain softly falls on the chinese repression in Tibet, the imaginary art-group Les Liens Invisibles celebrates the upcoming Olympic Games with a new fake-based hybridation between art, activism and advertising strategies. Exploiting the global visibility of the Olympic Brand, the ambiguous www.peking2008.com domain has been used by Les Liens Invisibles as a powerful advertising medium to subvert attention economy mechanisms and to promote the tactical (ab)use of fake-publishing as a new paradoxical way to reclaim the Truth. Have a look at the advertising space > http://www.peking2008.com Watch the fake-based advertising spot > http://www.peking2008.com/ad/ Exclusive! Become a counter-olympic sponsor (*) > http://www.peking2008.com/sponsors/ Have a fake publishing demonstration. Wear the Olympic Mask > http://fake.isafake.org/2008/05/19/peking2008/ Want more? Discover new fake-themes > http://fake.isafake.org/category/themes/

A three-part study of the presence of death in Twitter. Does death creep its way into the bottomless banality of everyday life? No, death is part of the bottomless banality of everyday life.

A web page that slowly becomes corrupted. Each time the page is visited, one of its characters is either destroyed or replaced.

“Silhouette: A Dance” was created for Born Magazine and interprets Addie Tsai’s poem of the same name. The aim of the interpretation was based primarily around the structure of the poem, exploring its ambiguity by presenting a different version of it each time the user accesses the project. The accompanying visual element hopes to create tension between the non-linearity of the poetic structure and its reliance on the random command, with that of the linear pre-defined structure of the gradually emerging background graphic.

„Interception 2 ” 2008 Over the course of one night, there had been an intervention into public space, during which six surveillance cameras had been rendered unusable. In every location where the surveillance camera had been disabled, the author left a mark- the word „Panopticon”, which pointed to the meaning of the action. Interception 2 is a continuation of project Interception (2007). During “Interception” a surveillance camera that was used to monitor public space was hijacked and reinstalled at a subway station. The camera was used intentionally to broaden consciousness concerning the problem of increasing lack of privacy. Both actions were illegal.