Festival + Symposium Blog
ISEA2006 Symposium
ZeroOne San Jose Festival
Workshops + Tours
Press Center
Contact Us
ZeroOne San Jose / ISEA2006 exhibitions
Edge Conditions at the San Jose Museum of Art
Edge Conditions
Written by Administrator   
Jun 07, 2006 at 03:24 PM

San Jose Museum of Art

Curated by Steve Dietz

Cutting edge. Bleeding edge. Leading edge. These are all familiar catch-phrases which suggest we are glimpsing the future of contemporary art, today. Edge Conditions, however, is most emphatically not about the “next new thing.” It presents works of art in a different context, at the intersection of creativity, choice, and what might be called “technology” but what is arguably the world we live in. Whether it is devices such as pencils and chisels, or ubiquitous aspects of modern life such as electricity, phones, or computers and the Internet, technology is simply a set of tools that are more or less familiar at any given time.

An edge is a boundary—a divide between this or that—but an “edge condition” is an intersection, not only of art and technology, but of physical and virtual, conceptual and actual, the future and the present, the familiar and the experimental, the real and imagined. It can be discomfiting and disorienting. “Are you human or are you machine?” “Is this place real?” An edge condition is like an estuary where the river meets the ocean—not quite either but teaming with evolved adaptations.

This emergent reality is in some sense the transformative condition we currently live in. The artworks in Edge Conditions explore and exploit this intersectional territory.

Edge Conditions is on view at the San Jose Museum of Art through November 26, 2006.


Peter Cook, Archigram, Instant City, Airship Visits a Sleeping Town, 1968
See also.

C5 Corporation, The Analogous Landscape (Mt. Shasta, Mt. Fuji), 2005
See also. And.

Jim Campbell, Wave Modulation and Variation, 2003
See also. And.

Jim Campbell, Reconstruction #5, 2005
See also.

See also.

Harold Cohen, Untitled, 1974

Harold Cohen, Untitled, 1977

Harold Cohen, Untitled, 1985

Harold Cohen, Untitled, 1986

Harold Cohen, #060640, 2006

Ken Goldberg, Karl Bohringer, flw, 1996
See also.

Ingo Gunther, World Processor, 1988-2006
See also.

Auriea Harvey, Michaël Samyn, The Endless Forest, 2005

Lynn Hershman, TV Legs, from the series, Phantom Limb, 1986

Lynn Hershman, Call Me, from the series, Phantom Limb, 1988

Lynn Hershman, Identity CyBorg, 1996

Lynn Hershman, Ruby’s Mood Swings, 2002

Lynn Hershman, DiNA, 2004 – present
See also.

Katherine Isbister, Rainey Straus, SimVeillance, 2006

Takuji Kogo, A Song for the Silicon Valley, 2006
See also.

Nam June Paik, 20th Century Man, 1996

Alan Rath, Hangwave, 1992

Sam Richardson, That’s a Small Island with Snow and Frozen Water, circa 1970-75
See also.

Christiane Robbins, I-5 Passing, v.1.0, 2001-2006
See also.

Ben Rubin, Mark Hansen, Listening Post, 2002-2006
See also. And. And.

Shirley Shor, Core, 2005

Tamiko Thiel, The Travels of Mariko Horo, 2006
See also. And.

Thomson & Craighead, Light from Tomorrow, 2006
See also.

Gail Wight, Rodentia Chamber Music, 2004
See also. And. And.

Last Updated ( Oct 07, 2006 at 09:09 PM )
Listening Post
Written by Michela Pilo   
Jun 07, 2006 at 03:46 PM

San Jose Museum of Art

“What would 100,000 people chatting on the Internet sound and look like?” In the year 2000, this was the deceptively simple question that motivated sound artist Ben Rubin and statistician Mark Hansen to collaborate on what you are currently hearing and seeing.

Last Updated ( Jun 08, 2006 at 02:28 AM )
World Processor
Written by Michela Pilo   
Jun 16, 2006 at 01:03 PM

Ingo Günther, World Processor, 1988-2006
30 illuminated globes on stands

Although once a radical idea, our understanding of the Earth as a sphere is so commonplace as to be unremarkable. And at first glance, Ingo Günther’s glowing globes exude an aura of nostalgia; an almost visceral memory of Enlightenment libraries when such globes were on the front lines of discovery. By overlaying the familiar with current geosocial and scientific data, however, Günther implicitly, mostly neutrally, raises issues of globalization. As the world gets smaller through the “nervous system” of communications technology (Marshall McLuhan) and becomes “flatter” (Thomas Friedman), what is the effect on us, our businesses, our nations, the earth? Wandering through the illuminated sea of globes, viewers can draw their own conclusions; make their own visual hyperlinks. What is the relationship, for instance, between TV Ownership and Energy Consumption and Infant Mortality Rates and Landlocked Nations and Post-WWII Peaceful Countries? This is World(view) processing.

Last Updated ( Jun 22, 2006 at 03:16 PM )