MOTHERBOARD

motherboard@pobox.com Snail mail: PO Box 9334 Gronland, N-0135 Oslo Tel +47 93069406

MPEPE3 - eclectic testicle radio Listen to mpepe3 streaming radio while you browse our archives. Very refreshing!

ELECTROMAGNETIC FOUNTAIN Amanda's electromagnetic blog

 

The "motherboard" is a central element of the personal computer, the main circuitboard to which one connects memory, peripherals and other devices, which extend the capabilities of the computer. Motherboard (the art group) may be described as a collective of artists and 'techsperts' gathered around the core members Per Platou and Amanda Steggell, for various projects. The majority of their work has taken the form of installations and performative live art happenings, mediated and modulated by the intermediary influence of the net, and often integrate audience participation and interaction. Through their ambitious vehicles they explore the materiality and resistance of the net as a mediating instance. Please make a regular habit of checking their site for upcoming events. Kevin Foust, 9.9.00, writing for www.kunst.no/netart

MOTHERBOARD ANCIENT SCREENSAVER ..... honouring netochka nezvanova, dj krust and good eggs. Self-running control panel [sorry, mac pre-osx only], 327 K download here EQUALLY ANCIENT MAELSTROM COMPOSER Sound sets for the classic mac arcade game "Maelstrom".1.8 mb, download here

NEWS

2008 25.03.08 In under 2 weeks we'll be travelling to Wendover, Utah/Nevada, USA to perform and document Desert Walker. Very exciting! 09.03.08 THE ANSWERING MACHINE We're taking part in Verk Production's latest theatre peice, The Answering Machine, by Finn Iunker. It's running at Black Box Theatre, Oslo from 27 Feb to March 16. (We've got some great reviews). CHANGES ..... since 1995 NoTAM has hosted Motherboard's website, but times change. NoTAM have restructured itself and due to a streamlining of their economy, will no longer be hosting artist websites. So, after enjoying 13 years of NoTAM's hospitality (thank you) Motherboard has moved here!

 

SCHEDULE

2008 05-29-04.08 DESRET WALKER Desert Walker relates to choreography in a similar manner that visual art relates to land art. Production and documentation period. [Wendover, Utah/Neveda, USA] 11-12.03.08 SNIFFER SOUNDS Workshop for young people exploring electromagnetic Lillehammer Leader: Amanda Steggell Arr. Amandus Film Festival [Lillehammer, Norway] 27.02-16.03.08 THE ANSWERING MACHINE Theatre performance with Verk Productions Venue: Black Box Theatre Dates: 27.02-02.03.08 & 11-16.03.08, 7 pm. [Oslo ] 14-17.02.08 THE EMOTION ORGAN EMO installation and performance event at Klosterøya, Skien, Norway Arr: IKT Grenland EXPO 2008, Porsgrunn Kunstforening Prod/curator: Gunn Marit Christenson, Atle Barclay Venue: Klosterøya (paper factory), Skien, Norway 14.02.08: Open to the participants of IKT Grenland EXPO 2008 conference 15.02.08: Open to school pupils and college students in the local area 16th-17th. 12-16 hrs: Open to the general public [Skien, Norway] 2007 10-14.10.07 THE EMOTION ORGAN EMO installation and performance event at Lydgalleriet in Bergen for a period of 5 days. Arr: Lydgalleriet Venue: Lydgalleriet, Østre Skostredet, Bergen Vernisage: 10.10.07, 19.00 hrs [Bergen ] 10.09.07 DABBLING WITH ORIGINAL SYN Paper presentation at (re)Actor. The 2nd international conference on digital live art Arr: (re)Actor Venue: Leeds Metropolitan University [Leeds, England] 15-17.06.07 THE EMOTION ORGAN EMO at the Norwegian Short Film Festival. Arr: Norwegian Short Film Festival Venue: The Stable, Grimstad Vernisage: 15.06.07, including a short introduction to the organ Openingt times: 13.00 - 19.00 [Grimstad, Norway] 18-21.04.07 THE EMOTION ORGAN EMO presented for the participators of the arts research event, Close Encounters and exhibited for the public. Venue: University College of Dance [Stockholm] 13-14.01.07 THE EMOTION ORGAN The culmination, public presentation and appraisal of Amanda's arts research fellowship project Mind, the Gap. Synaesthesia and contemporary live art practice, with the first public presentation of The Emotion Organ as a liveart happening. Venue: The Norwegian Theatre Academy [Fredrikstad] 2006 09.09.06 NOOD CONCERT AT NUART NOOD, still dedicated to the noble pursuit of conceiving, processing and looping sound resources from the net- and meatspace, play once again! Venue: Tou Scene [Stavanger, Norway] Time: 17.30 08.09.06 DIGITAL NARRATIVES - ONE DAY SEMINAR Initiated and led by Per Platou. Venue: Fabriken [Oslo] Time: 10.00 - 17.00 hrs. 16.08.06 MIND, THE GAP (Synaesthesia and contemporary liveart practice.) Lecture by Amanda Steggell. Venue: The Norwegian Theatre Academy [Fredrikstad, Norway] Time: 18.00 hrs. 13.05 – 11.06.06 IN DEATH VALLEY, EVERYWHERE WE LOOKED, GENTLY WAVING STANDS OF GOLDEN DESERT BLOSSOMS DANCED IN THE WIND, THEIR DAISY-LIKE FACES PUNCTUATED WITH VIBRANT ORANGE CENTRES An installation for Galleri F15's 40 year jubilee exhibition" Projektrommet 93-06". Arr: Galleri F15 [Moss - Norway] 2005 - 06 DIGITALE FORTELLINGER (Digital narratives) A co-operative project between PNEK (Production Network for Electronic Art) and NRK (Norwegian Broadcasting Company) Ulyd curated by Per Platou. Every 14 days a digital narrative is published on the net. Schedule/documentation for 2005 Schedule/documentation for 2004 Schedule/documentation for 2003 Schedule/documentation for 2002 Schedule/documentation for 2001 Schedule/documentation for 2000 Schedule/documentation for 1998-99

PROJECTS/ PERFORMANCES/ INSTALLATIONS

In Progress: ELECTROMAGNETIC FOUNTAIN A transportable, self contained fountain for urban spaces that dances to electromagnetic activity in its near surroundings. http://ajsteggell.wordpress.com (research blog) DESRET WALKER A performance about space/time perceptions inspired bySamuel Beckett's experimental TV drama "Quad" to be performed on the salt planes surrounding Wendover, on the borders of Utah and Nevada, USA. THE EMOTION ORGAN A syneasthetic intstrument based on the technicfication of a pump organ from the 1890's produces a synergy of light, colour, sound, imagery and aromas to evoke the deepest emotions in those who touch it. The Emotion Organ is part of Amanda's arts fellowship project "Mind, the gap. Synaesthesia and contemporary live art practice". 13-14.01.o7 Black Box, Norwegian Theatre Academy [Fredrikstad - Norway] 18-24.04.07 Close Encounters, University College of Dance [Stockholm] 15-17.06.07 Norwegian Short Film Festival [Grimstad, Norway] 14-17.02.08 EMO installation and performance event at Klosterøya, Skien, Norway Arr: IKT Grenland EXPO 2008, Porsgrunn Kunstforening IN DEATH VALLEY, EVERYWHERE WE LOOKED, GENTLY WAVING STANDS OF GOLDEN DESERT BLOSSOMS DANCED IN THE WIND, THEIR DAISY-LIKE FACES PUNCTUATED WITH VIBRANT ORANGE CENTRES Installation 13.05 – 11.06.06 Galleri F15 [Moss - Norway] DIGITALE FORTELLINGER (Digital narratives) 2005 - 06 A co-operative project between PNEK (Production Network for Electronic Art) and NRK (Norwegian Broadcasting Company) Ulyd curated by Per Platou. IKON Theatre production. 01 - 04 & 08 - 11.12.o5 Grusomhetens Teater Scene [Oslo] THE 8TH SISTER Underwater sculpture for viewing via echosounder display. o7. 07.o5 [Træna - Norway] REALITY CHECK Club initiated and curated by Per Platou and produced by Atelier nord where unsuccessful art projects are presented for scrutiny and discussion. 2004 - 05 GAME SET MATCH Physical theatre 27 - 30.05.04 (8.30 pm) Black Box Theare [Oslo] ULTRA HOT WIRED LIVE ART Motherboard goes to Uganda for four weeks of hot wired live art! Arr. with Jørgen Knudsen and the Uganda Artist Association [Kampala - Uganda] 11.02 - 13.03.04 SIX PACK RADIO Low-fi micro radio concert concept 2003 and beyond ULTRA MODERN. VERY SOCIAL Streaming theatre concept > from 2002 and beyond 17 - 24.03.02 PART 1: Motherboard@Landmark Landmark Cafe [Bergen - Norway] - needs realplayer and quicktime 20.10.02 PART 2: Save the Streams Participation in net radio action, transmitting to Landmark Cafe, Bergen/Norway [transmitting from STEIM, Amsterdam] - needs your favourite mp3 player Never ending! PART 3: MPEPE3 Net Radio Pepe's net radio - continuous live stream and special DJ performances WRITTEN IN STONE, A NET.ART ARCHAEOLOGY Exhibition to celebrate the heroic period of Net.art, curated by Per Platou. 22.03 - 25.05.03 Oslo Museum of Contemporary Art GLITCH International Festival/Symposium 11 - 13.01.02 Oslo Academy of Fine Art [Oslo] - needs quicktime PLEASE TRY TO SPEAK ENGLISH! Totally Free Theatre production 20 -22.04.01 Endless Theatre, [Oslo] 25 -26.04.01 Bergen Kunsthall [Bergen - Norway] 29 -30.04.01 Avant Garden [Trondheim - Norway] - needs realplayer SEMENT Installation Royale commissioned by The Annual Art Exhibition 23.09 - 05.11.00 Bergen Museum of Art [Bergen - Norway] - needs realplayer THE HOTWIRED LIVE ELECTRONIC RESISTANCE NETWORK ART PARTY PLAN Live art party jam commissioned by the Momentum Festival 27 - 28.05.00 Park Pavillion [Moss - Norway] MIRAGE Net/real space performative installation commissioned by Galleri F15 20.05 - 08.07.00 JWIITMTISDSA Exhibition at Galleri F15 [Moss - Norway] 19.01 - 05.03.01 TREFF Exhibition at Bergen Museum of Art [Bergen - Norway] 03.02.01 Baltic Art Centre [Visby, Gotland - Sweden] 24 - 27.07.01 MIRAGE O/Z, net/urban space installation and concert [Zagreb/Oslo] 03 - 24.09.02 INIVA - Institute of International Visual Arts [London - England] - needs realplayer HOT WIRED LIVE ART International workshop/live art event 04 - 16.01.00 HWLA1, Bergen Academy of Fine Art [Bergen - Norway] 18.08 - 02.09.01 HWLA2, organised by Michelle Teran, BANFF Centre for the Arts [Banff - Canada] - needs realplayer and quicktime LARA CROFT LISTEN:DO! Performance. She does what you tell her to do! Commissioned by the exhibition Give me a reason to be called woman 20 - 23.11.99 Norwegian Folk Museum [Oslo] 07.06.00 Institutt for Romkunst [Moss - Norway] 12 - 13.05.01 Stand Art festival [Gothenburgh] IDORU A series of online performances in collaboration with Michelle Teran and guests 01.04.99 Staged at Mercer Union Gallery [Toronto] 07.05.99 Staged at Trinity Square Video [Toronto] 17.11.99 Electronic Media Arts Centre [Toronto] SWITCH BITCH: re:sampling the cyberfemme Documentary theatre performance 12 - 16.12.98 Black Box Theatre [Oslo] - needs realplayer and flash DIGITAL MOSQUE Five performances and installations exploring digital pop cultural and arabic Islam, Oslo/Cairo/Brixton. 14.02.97 Madonna and dog, Brixton Academy [London] 30.03 - 02.04.97 Virtual Wash, Zoo Lounge Cafe [Oslo] 08.04.97 Dissapearing bodies. Half veiled truths, Museum of Contemporary Art [Oslo] 30.04.97 Cities of the Dead, Hyperstate 111, Oslo Spectrum, [Oslo] 06 - 15.06.97 LawHat al-umm, Cyberconf.6, Kunstnernes hus [Oslo] - needs shockwave, quicktime and realplayer M@GGIE'S LOVE BYTES Iconic multi location dance theatre performance 08 - 09.03.96 Electra Festival [Oslo] 02.12.96 Special show for NRK TV [Oslo] 22 - 23.01.99 Arc Theatre [Stockton-on-Tees - England] - needs realplayer NOOD Very groovy net-based sound project since 96 Please visit the Nood website for more info. [everywhere] - needs realplayer and shockwave

 

PERFORMANCES - ONE TIMERS

THE EXTRA LIVE SHOW Nood live jam 14.09.00 HQ, Nuuk, Grønland, [Oslo] - needs realplayer 69:99 Performance with Momentary Fusion UK 04.07.99 Kadettangen Circus Tent [Sandvika - Norway] - needs realplayer LONELY HEARTS CLUB Online club performance/installation 18.04.99 Jazid [Oslo] - needs realplayer and flash

INSTALLATIONS (AD HOC)

IMAGINING Collaborative week-long event in St Mary Magdalene’s Church and Gardens, Islington, arr. by FUNK.CO.UK 24-30.07. 05 [Islington - London] JEG TOK MIN NYSTEMTE .... A Motherboard installation by Amanda, Ellen, Pepe and the people of Bergen. 07 - 16.10.04 Bergen International Film Festival Exhibition Galleriet shopping centre, 5th floor [Bergen - Norway] FRANKENFURBY Installation commissioned by the International Festival of Puppetry in Vienna. 03 - 13.11.99 Kunstlerhaus Theatre [Vienna] 06.06.03 Tou Scene [Stavanger - Norway] - needs realplayer FISHBROWSER Geekfish installation. Can a fish browse the net without getting the mouse wet? 18.07.98 Migrating Bodies, Chichester Institute of higher education [Chichester - England] 04.03.99 Container [Oslo] BOTBALL Robot installation. Fuzzylogical football. 22.05.98 Trondheim Academy of Fine Art [Trondheim - Norway] 01 - 30.12.99 Samtidskunstforum [Oslo]

EXTRA STUFF

SHAREDAY 07 - 30.04.03 Special Edition site for Kommando's Deledagen event consturcted by the Bored Mother who was provoked by the lack of female participation at this event. MOTHERBOARD OFFSPRING Project dedicated to the next generation[s] 03.03.02 STUNT CLUB at Kunstnernes Hus [Oslo] - needs realplayer

 

PRESS AND QUOTES

STATSSTØTTET KUNST (State supported art) Article featuring, amongst other Norwegian artists and projects, The 8th Sister and The Emotion Organ. Trond Erling Petterson, Dagbladet, 17.02.07 PDF 8.7 mb (Norwegian) THE EMOTION ORGAN Black Box, Norwegian Theatre Academy, Fredrikstad | 13-14.01.07 [ project site ] DANSENS NYA HORISONTEN UTFORSKAS (Exploring new horizons in dance) Nancy Westman, Danstidning 3/07 PDF 2.5 mb (Swedish) THE TRIP Text: Egil Vadle, photo: Merete Haseth, Shorts, 16.06.07 PDF 925 k (Norwegian) APPRAISAL OF AMANDA STEGGELL'S RESEARCH PROJECT (excerpts) Prof. Lei Cox (chair), Dr. Sher Doruff, Prof. Erkki Huhtamo, Secretary to the Committee: Trude Iversen , 15.02.07 PDF 36 kb THE EMOTION ORGAN. MIND THE GAP Jon Øystein Flink, Kunstkritikk.no, 26.01.07 PDF 144 kb (Norwegian) ORGEL KRYSSKOBLER SANSENE (Organ crosswires the senses) Jonas Rohlde-Moe, Fredrikstad Blad, 14.01.07 PDF 1.2mb (Norwegian) THE EMOTION ORGAN: ASHEIM OG STEGGELL SPILLER PÅ FØLELSENE (The Emotion Organ. Asheim and Steggell play on emotions) Ballade/MIC, 08.01.07 PDF 232 kb (Norwegian) LUKTEN AV FARGEN RØD (The smell of red) Julie M. Løddesøl, Scenekunst, 07.09.06 PDF 44 kb (Norwegian) IN DEATH VALLEY, EVERYWHERE WE LOOKED, GENTLY WAVING STANDS OF GOLDEN DESERT BLOSSOMS DANCED IN THE WIND, THEIR DAISY-LIKE FACES PUNCTUATED WITH VIBRANT ORANGE CENTRES "Projsektrommet 93-06", Galleri F15, Moss Bryggeri Utstillingshall | 13.05 - 11.06 [ project site ] POTENT PROJECTS [ full review - Norwegian PDF ] If I was to be totally honest I have to acknowledge a touch of artist distain. When I see exhibitions, theatre performances and concerts it is always with a feeling that the artist stands in the way of the experience of the work. I therefore generally give little thought to who has made the artworks I see. However, in this exhibition the apparent absence of the artists seems almost intrusive. It is very rare to see exhibitions where 80 artists are represented, and as there is very little supplementary information beyond the list of works, the job of matching the map to the terrain, so to speak, quickly becomes irritating ...... ... There are moments when being an art critic feels like a burden, and the act of describing and expressing opinions feels almost perverse in that it is hard to do so without violating the actual experience. Per Platou and Amanda Steggell have created a work that I am so intensely in love with that I am actually a bit embarrassed to talk about it. It is as though the work is custom-made for my private feelings and longings, however I can't put my finger on exactly what or how. At the same time, it seems to be the exhibition's most universally accessible work - because it is so instantaneously sensuous. Particularly the use of aroma is so effective that several hours later I could still sense it on me as an aftertouch of a lover's caress. To experience the work feels like being wrapped in swaddling clothes and laid in a cradle, and the memory of the experience is almost stronger then the experience itself. The installation has become a friend and it is the only artwork that I have ever attempted to hug. It feels sad to have to have to say goodbye, but friends come and go. The parting is endurable because there is hope that we may meet again and everything that has happened in the meantime will generate new things to talk about. It is through moments like these that the art circus proves itself worthwhile after all. Erlend Hammer, Billedkunst 04.06 IKON Grusomhetens Teater Scene, Oslo| 01-04 & 08 - 11.12.05 [ project site ] PASOLINI VALUE [ full review - Norwegian & English versions ] Who would have thought that we would be led down to into the cellars of Hausmania, the street-smart culture complex where spray cans glisten in the frozen night and no pushers no buyers hangs above you like a saloon sign, to experience an intellegent and rough-edged exploration of capitalism and sexuality. Certainly not me. Jon Refsdal Moe, Morgenbladet, 09.12.05 AN HONEST ATTEMPT [ full review - Norwegian only, English translation coming soon ] In the big picture, Icon will stand as an honest attempt to create a debate about cultural currents in our time. Elisabeth Leinslie, Kunstkritikk.no, 08.12.05 THE 8TH SISTER Træna, Helgeland | 07.07.05 [ project site ] THE SEVEN SISTERS' UNKNOWN EIGTH SISTER [ full article - Norwegian ] Up till now we have only heard of the Seven Sisters. But during the summer an eight sister is scheduled to pop up - or more correctly, pop down! The Oslo-based art group Motherboard will sink a sculpture called the 8th Sister at a depth of between 10-30 metres somewhere between Hioya and Kvalholmen in Træna..... ... An echosounder must be used to view The 8th Sister as a womanly figure, while her "living" form will probably deviate conciderably from a female form. Træna council officials have now given permission (for Motherboard) to carry out the project. Roger Marthinsen, Rana Blad, 09.06.05 ART IN DEEP WATER [ full article - Norwegian ] Træna has been excluded from the project Scultural Landscape Nordland. But instead the community can play host to another, unique initiative: Two artists will place a female sculpture at least ten metres under the ocean southwest of Sanna. Kari-Ann Dragland Stangen, Helgelands Blad, 25.05.05 EMPEROR'S NEW CLOTHES The 8th Sister is ...... the worst example of the Emporer's new clothes! - just one of the ways that Knut Haavik (controversially appointed as a board member of Arts Council Norway) referred to The 8th Sister as the worst example of how to waste public funding. Knut Haavik, Holmgang, TV2, 24.11.04 GAME SET MATCH Black Box Theatre, Oslo | 27 - 30.05.04 [ project site ] SIX LOVE, SIX LOVE, SIX ONE [ complete review - English & Norwegian ] It's Thursday evening, and the liveart group Motherboard have formed their performance Game Set Match as a tennis match. Morgenbladet are present with a good feeling and a better title: Pling Pong. Pling, because Motherboard contains Per Platou: web-eccentric, electronica enthusiast and a legend within pop cultural pling pong. Pong, because of the tennis' natural affinity to the term Ping Pong, but also in its own right - as a reference to the first ever TV game made up of two lines and a dot in flight, developed by ATARI home systems in 1976, and spread around Norwegian sittingrooms in the early eighties. Motherboard has earlier worked with the Playstation figure Lara Croft. Does this tennis match mark a glance back in time? Is Game Set Match a tribute to contemporary society's electronic heritage? An overdose of balls. The darkness grows darker and the senses sharper, the first player emerges from the left side. She is quickly contested by the ball machine: The Voice from above takes on the role of a godly scene setter, won't let go of her, sends her extremely hard serves until she leaves him. Next scene: a naked man is humiliated by a metalic female voice, we just manage to think Abu Ghrain, and then both players are in place, both on the left side of the court immaculately dressed for a tennis match against the superior force. They dual with racket and frying pan, the match takes on Kafkaesque proportions, and finally they are both executed by an overdose of tennis balls (well, something like that).... Literary theatre. Apart from the ball machine there is little exploration of the scenic room here: Game Set Match is probably the most text-heavy traditional theatre production ever to be set up at Black Box. Totally unexpected from esthetic tricksters like Platou and Steggell, but quite alright really. As the national theatre houses cash in on lightweight musical comedy productions, what can be better than that the avantgarde takes on their monopolized expression - namely literary theatre. Jon Refsdal Moe, Morgenbladet, 04.06.04 MOTHERBOARD: GAME SET MATCH [ complete review - English & Norwegian ] This work invites us to use all our senses..... It is a challenge keep up with the tempo of the piece even for the most observant, but despite the high speed of the performance Hauk Heyerdahl nevertheless shines through as a young talent and provides us with a character to believe in. Jon-Harald Thorsås, Kulturspeilet 28.05.04 ULTRA-HOT WIRED LIVE ART Uganda Artist Association, Kampala | 11.02 - 13.03.04 [ project site ] [complete article - English | Norwegian ] In February a group of artist will travel to Kampala with 15-20 powerful Macintosh computers in their baggage. The aim is to create African computer art. They will search for the answer to Brian Eno's question: «How can you africanize a computer?». Bergens Tidende, 14.12.04 Motherboard came with 17 mackintosh computers, a complete MiDi system (sufficient to set up a modern music recording studio), video cameras and an overhead projector. The good news is that these gadgets have been donated to the UAA, based at Nommo gallery, at Nakasero. The association is now going to set up a centre that according to Platou will become the hub of computer art in Uganda, complete with a permanent Internet connection courtesy of Bergen Centre of Electronic Art in Norway. This will help UAA to join the global league of video teleconferencing. Nathan Kiwere, New Vision, Uganda, 01.03.04 WRITTEN IN STONE, A NET.ART ARCHAEOLOGY Oslo Museum of Contemporary Art | 22.03 - 25.05.03 [ exhibition site ] [ all known reviews here ] This might be the beginning of the end to the art world as we know it .... a revolutionary exhibtion. Tommy Sørbø, NRK P2 Norway: it seems too far from the usual places to be sometimes. But now there is a nice reason to visit it. A week ago (March 23rd) a remarkable exhibition opened at the Oslo Museum of Contemporary Art. Artist Per Platou has curated an exhibition on net.art which is an odd mixture of artistic installation and almost archeological introduction to what was probably the most infamous period in network art: net.art. This exhibition is almost all atmosphere and personal experience. Even if this is what makes it most vulnerable, this is also what makes it strong. I have seldom seen a net art exhibition that convinced me and I am beginning to think this is why: exhibiting net art is all about commitment, because it is simply not possible to avoid interpretation if you want to exhibit this art in a way that engages the audience in an exhibition space beyond the click of a mouse. What is interesting about this is that it brings the curator very close to a net art experience on line, the curator somehow reveals her or his individual approach and motivations, even more so then with creating an exhibition of existing material objects. The difference for the audience, between visiting such an exhibition and experiencing different projects and art web sites on line, is that the audience is at the mercy of (or rather: captured by) the approach of the curator. In this case the curator has chosen to pay a very personal tribute to a period of net art he loves, showing the art works from this period from three different perspectives..... Josephine Bosma , CRUMB/RHIZOME, 01.04.03 [ read the whole review ] DRAMATICAL NN Kunstnett | Oslo | 11.06.02 [ dramatical nn ] Amanda Steggell from Motherboard - www.liveart.org (NO) presented/performed this interpretation of the various N.N. mails and the interpretations of N.N. by others beautifully to the audience present at Art Norway's seminar on mailinglists, June 11th. Grethe Melby, Kunstnett (posted on nettime), 26.06.02 This is a script for a Kunstnett Seminar on email lists by Amanda Steggell (Norway) that wittily plays out the drama that went on on several media art list servs in 2001 (such as Syndicate). Although maybe an inside joke for those who are familiar with these characters, it is also a very informative window into the personalities that inhabit these many lists. Arts Electric, Angela Plohman, Editor (Europe), 08.02 LFSYS/ BERLIN BATTLE: LANDMARK PERFORMANCE EVENT From Pixelpunx HQ in Berlin to Landmark | Bergen, Norway | 11.01 [ lfsys ] Pixelpunx aren't partykillers. They throw us a nice berlin based visual output and act playfully in front of camera. They look pixelated and lovely. These punx. With their wigs and their poses and their hardcore chatting in chatspace. These black and white ddr images, these cryptic pixelpunx sounds. It's east, it's weinnmeisterstrasse, the stop after alexander platte on U8, the blue line. loglady - LANDMARK, 11.01 SEMENT The Anual Art Exhibition | Bergen Art Museum, Norway | 23.09-5.11.02 [ sement ] The jury have prioritised diversity and new types of artistic expression in their selection of works this year. It maybe precisely this that has inspired them to invite five net artists from Motherboard to create a net-specific installation to the [Norwegian] Anual Exhibition. The result, Sement, is produced by Per Platou, Amanda Steggell, HC Gilje, Ellen Røed and Gisle Frøysland. It is staged in an office landscape on the second floor, and is clearly the most prominent contribution to net art at the Anual Exhibition. The net does not provide complete stories such as we are used to with the news on TV and other media. You can of course find clear naratives on individual webpages, but whether I move from place to place, or if I look at net.art or other non-linear texts, I have to select elements myself in order to make my own story. Sement mirrors this, containing many elements and a clear theatricality. A staging with objects, personas [dolls] and relationships which give me a feeling that there must lie a story here - a meaning. But I have to make the story myself. I have to decide which elements are important, and which relationships are necessary. Randy Parker describes jodi.org like this: "Ultimately, Jodi is Code stripped of all functionality, Code for its aesthetic value, Code as abrasive language, Code as hallucination, Code as theater." The expression of Sement is very different from that of jodi.org. But both have to do with codes. To read that which lies behind. This is part of the essence of net.art. Jill Walker, Kunstnett Norge, 11.00 (translated from Norwegian) SHAPED LIKE A TACO nood CD | summer 00 [ nood ] Nood, Ulf Knudsen (ex-Betonghysteria, Sister Rain, and more) and Per Platou (Chris Erichsens Orkester, and more) have released the follow-up album to their debut album "HettyLettyNetty" from '96. At that time they caused a stir when they used samples downloaded from the net in their songs and sound collages.Now they dare to trust the songs within themselves. Generally speaking, Norwegian pop music lacks originality and experimentation. Apart from the ever growing cross-over techno-jazz scene, much of the music produced in Norway falls into the category of safe songs for apathetic radio listeners, predictable poprock songs or souless R&B. Nood is a relieving example of the fact that it is possible to make "tough" music without comprimising curiosity and naivity, and without necessarily falling under the category of jazz. We are led into a world of grooves, hooks and evocations from many parts of the world. Elements from diverse cultures are seemingly brutally cut up and glued together, played and sung, crossing over and defying time and space, but without becoming either superficially stuck on, or allowing the illusion to be broken. On the contrary, the Noodists manage to maintain a fine red thread through the whole album. It's a pleasant journey, while at the same time you get new and surprising elements which slightly twist the compass dial away from where you thought you were heading. Because it is the groove, the godlike and constant beat which holds the whole album together, and don't we all love you for that beat-beat-beat-beatin'? They have collaborated with Rhysea (net-jam artist), U4ia (database for spoken english linguistics and folklore'ist), Stine Grytøyr (Ulver) and Gine Ruud (soundscape decorator), not to mention the honourable, urine-drinking Baulers from West-Bengal, a multitude of samples, plus their own and their friends expertise. Go out and tear down the record shop shelves! Trygve Mathiesen, Puls, 08.00 (translated from Norwegian) More surprising than falling in love with an ample-bosomed woman with a large moustache (5 stars) sherbertboy, uk, freetrax 08.11.00 Unpredictable and quirky techno-pop! Aage Wolff, Avis1, 22.08.00 (translated from Norwegian) NIGHTMARE FOR BOX SLAVES! The album "Shaped Like A Taco" is like a giant jigsaw puzzle of sound and rythms; in other words, the worst nightmare of all those who need to place music into categorical boxes to be able to relate to it. ..... Nood's style is playful, creative, humorous, and suitably freaked out ...... Espen A. Hansen, VG, 02.08.00 (translated from Norwegian) If it wasn't intended to be eaten, it wouldn't be shaped like a taco. graffitti at Nathan's, Washington D.C. MIRAGE Gallery F15 | Moss, Norway | 05.20-07.08.00 [ mirage ] When you enter the gallery space and see "Mirage", you will probably experience it as meaningless. You are correct. "Mirage" is an interactive work. Interactive in the sense that it is first when you intervene with the installation that the meaninig becomes apparent. A good number of interactive works continue to appear meaningless because the way in which one shall interact is too complicated or cumbersome for a public to use it. With Mirage, the interaction method is simple - the only thing you have to do is to move about in the room, something a gallery public is used to doing. Generally speaking, experience is the focal point of art. This applies to both artists and public. In "Mirage" the consequence of interaction over experience are illustrated very effectively. The meaning of the installation becomes clearer through the possibility to act in relationship to it, influence it, and therefore aquire more a complex experience of it. Rather than to remember for always, or forget momentarily as computers, broadly speaking, tend to do, "Mirage" has a partly analogue and partly digital form of memory which lies in an organic process. This process is not confined to a single machine. It is the result of the complete installation: the projection, the camera, the gallery room and the Internet are equally important elements in a process which, as far as i can see, stretches from Moss to Bergen, and back "Mirage" has (also) a parallel in the film "Terminator". In this science fiction story artificial life evolves behind the killer robots in a development of Reagan's Star Wars project. In a global net of weapon satelites, machine self-knowledge evolves. This occurs as a result of the relationship between the machines, rather than the characteristics of a single machine. Artificial life evolves coincindentally in an extensive, self-regulating technological environment. Atle Barcley, Kunstnett Norge, 06.00 (translated from Norwegian) MIRAGE | "TREFF" | Sternersen Collection | Bergen Art Museum, Norway | 19.01-5.03.01 Bright pink program: TREFF! The Stenersen Collection is exhibiting contemporary art this month. The premises are lighter, more open and in tune with the world after the renovations a couple of years ago. They've got a website as well, but they've forgotten to update it, and it's not pink like the catalogue. It seems it's impossible to talk about contemporary art these days without naming net.art and technology. So both Gisle Frøysland and Motherboard (Per Platou og Amanda Steggell) are represented at the exhibition; they must be among Norway's most profiled net artists by now. Though net artists mightn't be the best description of them. TREFF is showing technology-art, perhaps or cyberart. Don't worry, I'll stay out of the genre discussion for now, that kind of thing only leads to torment and boredom: a prison of definition. Motherboard's piece Mirage met me, no, engulfed me as I came up the stairs and entered the exhibition. A large screen on the one wall, and a projector on the other: not exactly unexpected. The image on the screen shows screens within screens, just as when you turn two mirrors towards each other and stand between them. The screen images were diffuse: greenish, unsharp, uncertain. A large round clock with a mouse-cursor projected onto it was mounted on the screen: the only solid indication to let me feel certain that this was a mirroring and a repetition, and not just a porridge. Wise from experience, I went over to look for a webcam (I've been to a net.art exhibition before) - and, sure enough, a video camera stood right by the side of the projector. Smile to the camera! Jump in front of the camera! Dance! Spin! Clap! And turn around and wait - one minute, maybe two, then you see yourself on the screen. You see yourself dancing with yourself, you hear the sound of jumping at the same time as you see your own face cover the whole screen, staring at you. Two old men came in and looked sceptically at the whole scene. They had no idea why I smiled in my dance with the screen. They moved quickly on. ...the catalogue could have stated that Mirage was a commentary on the surveillance society: it watches over us. Our fascination with watching others, and being watched ourselves. I think we enjoy them both. When I came home to my machine and net connection and searched for more about what I had seen, I discovered that the screen images that are generated by Mirage are being streamed out on the net, you can see them now, if you have RealPlayer. I wish I'd known this when I was at the exhibition, then I would have danced with even more vigour, danced with the net, with an imaginary other. Here I think the museum has failed. It's great to show netart or cyberart or technoart or whatever it is, but it's just not good enough to print a bright pink catalogue and think it's giving adequate information to the public. It's not good enough to write in the catalogue that "the art lives its own life on the net" while neglecting to communicate what exactly the game is about. Why on earth can't the catalogue be published on the net, at least parts of it, and some links! The Sternersen Collection and Bergen Art Museum's websites haven't even been updated since last year - there isn't any information about this exhibition anywhere on the web. Contemporary art? I would have liked to have seen a net-connected computer on which to get my fingers working by the side of installations such as Mirage. I would see that they were on the net as well as being in the museum. I want to know that I can maybe communicate with the world outside. Jill Walker, weblog, 23.01.01 (translated from Norwegian) The first thing that meets us as we enter the art museum is ourselves, in an unending passage through time and space, through the art installation by the artist group Motherboard (Amanda Steggell and Per Platou). The video image on the wall is a delayed picture of the observer's own movements. In principle, the image is sent around the world via the Internet and comes back again, but in a somewhat smaller format, further "within" the space of the image. And so it goes on. New movements arrive. The present and the past melt together. An interactive optical experience which you can either share with yourself (you can literally arrange a meeting with your past "self" within the image) or other observers as they pass by the wall. Øystein Hauge, Bergens Tidende, 25.01.01 [translated from Norwegian] IDORU Online performance | Toronto/Oslo | throughout 00 [ idoru ] DAZZLING SOPHISTICATION! Idoru is a site that melts technological expertise, theoretical brilliance and a startling shimmering beauty. Enter this labarynthian site and we're totally absorbed, forgetting there's a world beyond this digital magical one. Will Aitken, Montreal writer and critic, cbc.ca, 05.06.00 SWITCH BITCH: RE. SAMPLING THE CYBERFEMME Black Box Theater | Oslo | 12.98 [ switch bitch ] CYBERGIRLS TAKE THE STAGE Computer game heroine Lara Croft, The Media Grrl and Camel Grrl - three representatives for the new feminism - cyberfeminism - exit cyberspace and enter the stage in Switch Bitch. While cyberfeminism's mothers of the seventies had clear political aims and faught for women's rights, cyberfeminists do not have such intitial aims. They simply ARE - with natural self-confidence and strength. They do not fight for their rights. They take their rights for granted. Per Platou and Amanda Steggell have worked with this performance for over a year. He is a data freak with a background in media theory, criminology, history of philosophy and film. She has studied dance and choreography in London and Oslo. Both are engaged in new communications mediums such as the the internet. They have ribbed down the Black Box Theatre in Oslo to it's bare bones. On each of the four walls hang large screens. In tracks around the walls the dancers perform. In the middle of the floor the audience sit on rotating office chairs so that they can choose their own screen, picture and view point. If they choose to view only one screen, they get only one fragment of the reality that surrounds them. If they swivel around they gather many fragments. But what ever the choice, we're talking about fragmentation here. Switch Bitch is a performance where the difference between the real and the virtual is wiped out. Astrid Sletbakk, VG 12.12.98. (translated from Norwegian) DIGITAL MOSQUE 6CYBERCONF. | The Artists House| Oslo | 06.97 [ digital mosque ] I have just come from the dress rehearsal of the Motherboard. Here is an example of young artists using the net in an original way. As I entered the performance space I was informed that there were separate areas for the male and female audience. I asked if I could choose where I sat, and they said yes! It was wonderful. Cybergoddess Sandy Stone, speaking at the opening of 6cyberconf, Oslo, 06.97 The cyber-Islam performance of the young norwegian group, Motherboard, received very good response. It is in fact a shame that these truly netsmart young artists from Norway were not represented to a greater extent at the conference [beyond their performance and installation] as their work shows that they are not only competentpractitioners, but also have a strong conceptual and culturally-critical base which they apply to their work. Kathy Rae Huffman, Telepolis/Poptarts, 06.97 Motherboard/lawhat al-umm tries to unite two seemingly opposite phenomenons: westernpostmodernism and arabic Islam. The resulting "digital mosque" makes a very good attempt at lifting the contrasts and paradoxes of globalisation to a high level. Oscar Hemer, Sydsvenska Dagbladet, O7.97 (translated from Swedish) The choreographic work [is] influenced by techno-house culture in creating performances in a more porous environment, in so-called ambient settings - at rave parties, in bars or art galleries. The work also features a dramaturgy which is more like a machine gun than an exquisite chess game. This does not mean, however, that [her] etymology is street dance; rather the opposite: she has seized chances to confront new audiences, spaces and themes. Amanda Steggell's work has to a large degree functioned as a close-up of how european hegemony comprehends other cultures and its gender discourse in relation to technonology. Here the audience has to fill up a landscape where Darth Vader, middle-east versions of Whitney Houston's sentimental soul music collected on the internet, and harsh political statements create a social context to which the spectator is generously invited. Amanda Steggell works with cliché both in relation to dance and to appearance; her starting point is the catwalk rather than Martha Graham or Anne Theresa de Keersmaeker, and the motivation has this "fellow traveller" quality which makes techno-house culture interesting: a kind of revolutionary attitude with no connection whatsoever to traditional message or political subtext but running on generosity, nakedness and a ballistic, down-to earth pulse. Mårten Spångberg, Ballet International/Tanz Aktuell, 12.97 M@GGIE'S LOVE BYTES Electra Exhibition | Hennie Onstad Art Centre | Oslo | 08-09.03.96 [ m@ggie's love bytes ] Sex role perspectives enter and are twisted as the masculine gaze becomes reversed, and sent out on the net in a multi-media show from several global locations. The techno- based soundscape and the pixelating pictures give the whole seance a primal feeling. Repetative patterns invoke stone-age impressions. A straight performance, but with a prescribed dose of human intervention striking direcly into the heart of the 90†s. Here, we are very much at the genesis of the development from the digital pre-historic twilight, moving steadily into the collective drama of the twentyfirst century. Eirik Befring. Journalist, Oslo, 96 (translated from Norwegian) Your presentation was fresh, invigorating , original, innovative and a great source of inspiration to all. Scott deLaHunta. Performance Research Agency, Amsterdam, 96 The premiere of M@ggie's Love Bytes was, mildly put, a chaotic and exciting affair where the Internet's enormous universe became the arena for a dance performance like no other you have seen before [...] Talk about collaboration! Live, before several hundred people. And a few million more, maybe? Espen Andersen. Journalist, Oslo, 96 (translated from Norwegian) The Norwegain dance and multimedia performer Amanda Steggell and her collaborators provide a close-to-home example of how a performance work may be viewed online; in 'Maggie's Love Bites' the online mediation is part of the message. Synne Skjulstad, Andrew Morrison & Albertine Aaberge, Researching performance, performing research, Intermedia, University of Oslo [ paper-pdf ] ARTICLE: EXTENDING THE BODY - EXTENDING THE SPACE FOR DANCE [ article ] REVIEW: Amanda Steggell argues that dance has too long been left out of investigations with technology and that there is much that dance has to offer these new cyber worlds. Crucial to her account is a dancer's knowledge of 'movement, transformation, time and space'. Her very practical article addresses specific areas where dance and technology can interact on a practitioner's budget: the Internet, the Life Forms software, Animation (Swivel), Labanwriter, Improvisation Technologies, Sound, Video Editing, Photographic Material from Video, Interactive Performance and/or Installation. Written in 1995/96 the article already shows its age in its discussion of the Internet and the limited reference to video and digital video technology. Stuart Andrews, Palantine, July 2001

 

ARTICLES AND PAPERS [ author - A > Z ]

HARALD BEGUSCH and DAGMAR FINK Switch Bitch - Cherchez la Cyberfemme SPRINGERIN - issue 3/99 - An Austrian reflection on Switch Bitch [German] JOSEPHINE BOSMA Written in stone, a net.art archaeology CRUMB/RHIZOME 01.04.03 - Review of Per Platou's exhibition "Written in Stone, a net.art archaeology" Museum of Contemporary Art, Oslo, Norway, 22.03-25.05.03 SCOTT DELAHUNTA The Finished Middle: A Hot Wired Live Art Conversation about collaboration, prototypes, tools as art and rules for engagement SMARTLAB CENTRE, good practices - here are the raw, unedited interviews from which Scott drew the information for the article above: INTERVIEW 1 [Ellen Røed, Michelle Teran, Sher Doruff] INTERVIEW 2 [Per Platou, Niels Bogaards, Gisle Frøysland] INTERVIEW 3 [Amanda Ramsos, Amanda Steggell, Jeff Mann] - Transcripts of radio interviews with HWLA2 artists, moderated by Scott and transcribed by Michelle Teran, conducted at HWLA2 worklab, Banff Centre for the Arts, Banff, Canada, 09.01 ERIK HESBY Nood - trekker fra og legger til KUNSTNETT, 15.01.01 - Interview with Per Platou [norwegian] MARK JONES You Too Can Be Part of the Emergency Crew CORETEXT, issue 2001 - an article about the work of Michelle Teran [including her work with Motherboard] BJARNE KVINNSLAND Kunst i det digitale feltet KUNSTNETT, 11.02.00 - Art in the digital field: Interview with Amanda Steggell [english!] NAOKO KOGO Live performing art - ultra modern, very social Art Research Report, vol. 4, March 2004 [JPG images] Page 1 | Page 2 | Page 3 | Page 4 [japanese !] RITA LEPPINIEMI/AMANDA STEGGELL Game Set Match DIGITAL 2, 03 - Transcript of presentation at Digital 2, MUU Ry, Helsinki GRETHE MELBY Bli aldri Motherbored LOCALMOTIVES 06.01 - never get motherbored: a portrait of Motherboard Blaim it on the Boogie [pdf] - Reality Check report commissioned by Atelier Nord, 12.04 KETIL NERGAARD Kunsten å gjøre en feil KUNSTNETT, 12.02.02 - The art of making mistakes: Glitch review [norwegian] Glitch Report - Artist and writer Ketil Nergaard followed Motherboard's "GLITCH : symposium and festival" event, 20.01.02 SALLY JANE NORMAN Performance and new media - IETM resume IETM 2000 - Moderator Sally Jane Norman's preliminary resume from working group B4 at IETM 2000, with a panel consisting of Per Platou, Amanda Steggell and producer Richard Castelli discussing with some 40 theatre producers and artists from all over Europe. TOMMY OLSSON Hva gikk feil - critic of Reality Check Kunstkritikk.no, 09.12.04 PER PLATOU HANG GLOM Catalogue text for the exhibitions Geography and Holmgang, Ellen Røed and Patrik Entian, 02.05. Et kritisk blikk på knytutvalgets behandling av søknader ARTS COUNCIL NORWAY, 05.03 Refleksjoner omkring formidling av nettkunst ARTS COUNCIL NORWAY, 05.03 not net dot art MUSEET FOR SAMTIDSKUNST, 03.05 - catalogue text for Written in Stone: a net.art archaeology Rettighetshysteri kjører musikkindustrien på dunken BALLADE, 17.01.02 - copyright hysteria is driving the music industry into the ditch! Audio-visuelle fikseringer KUNSNETT 21.06.01 - about the life and work of Steina & Woody Vasulka [norwegian] Per wrote a regular column in BilledKUNST on digital art and hacktivism which is online at Kunstnett Norge. [Norwegian only]. DIGI 5/99 DIGI 4/99 DIGI 3/99 DIGI 2/99 DIGI 1/99 SITES SUCH AS THESE KUNSTNETT, 08.99 - Interview with Jeremy Welsh about his project "Sites such as these" where they ponder over the following question: Should net.art be considered in the framework of tactical media? SITA POPAT AND JAQUELINE SMITH-AUTARD Dance-Making on the Internet: Can Online Choreographic Projects Foster Creativity in the User-Particpant? LEONARDO Vol. 35, No 1, pp. 31-36/ 02 - this article is a development from the Hands on Dance Project [see below] , where M@ggie's Love Bytes has been assessed as one of three dance projects that utilize the Internet in their execution. Unfortunately you can't get this article for free. You have to order it from Leonardo: http://mitpress2.mit.edu/e-journals/Leonardo/order.html SITA POPAT Hands on Dance Project, Research, Contexts - chapter 2 - /99 - on M@ggie's Love Bytes IVANA SLUNJSKI Frontalna lobotomija stvorenog poretka Grada ZAREZ, 13.09.01 - Article [in Croatian!] about the International Urban Festival, Zagreb, Croatia, where Motherboard participated with installation and performance "Mirage O-Z". [We don't know what it says, but there's some nice images, though] AMANDA STEGGELL OPEN SOURCE OSLO [Norwegian]Written for Oslo Byforum, 04.05 REASONS TO BE CHEERFUL. REALITY CHECK PART 3 Report from Reality Check 3, 12.04.05 For Atelier Nord GEOAGRAPHY - THE BOUNTIFUL WORLD OF MUTINOUS CARTOGRAPHY Catalogue text for the exhibitions Geography and Holmgang, Ellen Røed and Patrik Entian, 02.05. REALITY BLURRED Report from Reality Check 2, 12.02.05 For Atelier Nord THEIVES LIKE US, OR WHEN EISENSTEIN INVENTED MONTAGE, HE PROBABLY WASN'T SEARCHING FOR A WAY TO SELL SOFTDRINKS Transcript of panel debat speech, 11.04 Norsk kritikerlag GROUNDED Video transcript, 11.03 Meta-text/video interviews for conferences about art, interfaces and interaction! [ images from Grounded at NIRES 7 conference, Århus ] Solvent abuse UTFLUKT magazine, 11.03 Meta-text about network performance and deadlines. Dramatical NN Published in Kunstnett, 06.02 Manuscript of Amanda Steggell's contribution to Kunstnett's seminar about email lists. Kids: don't try this at home! UTFLUKT magazine, no.2/02 Amanda Interviews Per HOTROD magazine, issue no.8, summer 2000 - To honour the release of NOOD's 2nd album "Shaped Like a taco" If Only I Could Touch the Mouse, my Life would be Perfect PERFORMANCE RESEARCH magazine, Routledge 99 The Inverted Relay Race First published in in the 1998 spring edition of the DANCE RESEARCH JOURNAL. Norwegian translation in 3T, no.6, 99 Browsing in Cairo F.EKS magazine, 96 Quick Stepping through Digiland SKAPE, BEVARE, FORMIDLE, Norsk Kulturdepartement. 96 Extending the body - extending the space for dance Can't remember!!!! 95 SUSANNE ØSTBY SÆTHER & ELIN FALLEM Subject: Re: å finne en lyd [Subject Re: to find a sound] UTFLUKT magazine, no.1/01 - Interview with Per Platou [norwegian] En Røff Guide til Sampling [A rough guide to sampling] UTFLUKT magazine, no1/01 - article contextualizing the interview above [norwegian] MICHELLE TERAN Digital Personae MIX, no.4, spring edition 99 MARK WINGFIELD Ulf Knudsen and Per Platou PROGRESSION, talking 98 - interview. Two of the net's musical pioneers, who have been pushing forward the boundaries of new music of the internet.

VIDEO ARCHIVE [ title - A > Z ] - sorry, several RAM files need re-writing

qt sw rm ram       69:99 > 1.1mb Documentation: Kadettangen, Oslo, JULY 99       ACADEMIC SYNAESTHESIA> 2.7 mb qt Synaesthetic sketch mapping sound to image and vice versa. Oslo, 04