Long Long Garden by Mohsen Zare & Kamyar Behbahani / محسن زارع و کامیار بهبهانی Part of the #GIFbites Exhibition L↺↻p it!

Combining French New Wave and social media, 'The Villains' - a pseudo-remake of Jean-Luc Godard's "La Chinoise" (itself a pseudo-remake of Fyodor Dostoyevsky's The Possessed). In this case, the film takes the group of young revolutionaries as a jumping off point but changes Mao with Marshall McLuhan, and when watched online, is collaged with other algorithmically-selected videos. View the full film for free at thevillains.org Read about it at ANIMAL New York here: animalnewyork.com/2014/artists-notebook-rhett-jones/Cast: rhett jonesTags: The Villains, Trailer, net art, experimental film, Godard, La Chinoise, data moshing, Marshall McLuhan (Author), digressionism, Appropriation (Exhibition Subjec, mashup, fair use, post internet, Remix, independent film, DIY, Do It Yourself, pixel shifting, Pixel Art and Glitch Art

THE PIRATE CINEMA TRANSFORMS FILM TORRENTS INTO ILLICIT INTERACTIVE ART A CINEMATIC COLLAGE GENERATED BY PEER-TO-PEER NETWORK USERS. > More info: thepiratecinema.com - In the context of omnipresent telecommunications surveillance, “The Pirate Cinema” reveals the hidden activity and geography of Peer-to-Peer file sharing. The project is presented as a monitoring room, which shows Peer-to-Peer transfers happening in real time on networks using the BitTorrent protocol. The installation produces an arbitrary cut-up of the files currently being exchanged. User IP addresses and countries are displayed on each cut, depicting the global topology of content consumption and dissemination. - Conception: Nicolas Maigret - 2012-2013 Software development: Brendan Howell Production: ArtKillArt, La Maison populaire - More info: thepiratecinema.com More IMG: flickr.com/photos/n1c0la5ma1gr3t/sets/72157633577769570/Cast: N1C0L45 M41GR3TTags: piracy, pirate, hack, cinema, peer-to-peer, P2P, copyright, illicite, file sharing, Torrent, BitTorrent, thepiratebay, download, distributed, network, mashup, collage and cut-up

Create your own trip in sound and animation using YouTube video clips (this one features Alice in Wonderland)

We can’t stop talking about Jonathan Lethem’s essay in this month’s Harper’s. If you haven’t read it, you really should. Nothing that follows in this post will be nearly as interesting. Go ahead. And this post will still be here when you return. You know you want to. plagiarism

Caught [Digirebelle / Flickr]

Nearly every word of this essay about cultural borrowing and reworking was stolen — er, appropriated — from some other source and then cobbled together with a big dose of Lethem magic to form a cohesive whole. Even the “I”s aren’t Jonathan Lethem; they’re Jonathan Rosen writing in The Talmud and the Internet about John Donne, or William Gibson in a Wired article about William Burroughs, or David Foster Wallace on a grad school seminar, or Brian Wilson in a Beach Boys song.

Consider this tale: a cultivated man of middle age looks back on the story of an amour fou, one beginning when, traveling abroad, he takes a room as a lodger. The moment he sees the daughter of the house, he is lost. She is a preteen, whose charms instantly enslave him. Heedless of her age, he becomes intimate with her. In the end she dies, and the narrator—marked by her forever—remains alone. The name of the girl supplies the title of the story: Lolita.

The author of the story I've described, Heinz von Lichberg, published his tale of Lolita in 1916, forty years before Vladimir Nabokov's novel. Lichberg later became a prominent journalist in the Nazi era, and his youthful works faded from view. Did Nabokov, who remained in Berlin until 1937, adopt Lichberg's tale consciously? Or did the earlier tale exist for Nabokov as a hidden, unacknowledged memory? The history of literature is not without examples of this phenomenon, called cryptomnesia.

Here’s a better model for year-end link lists: Only chose one link! I asked 18 of my favorite professionals to do just this, leaving the subject matter completely at their discretion. The format doesn’t solve the inevitable difference of taste issues between readers and linkers — one person’s trash is another person’s Titian – but it at least eliminates the impossible chore of having to rate 20 unrelated items. It also creates a list in which each link is special to someone. For me, that creates a year-end list worth reflection.

Corey Arcangel is perhaps the internet's most infamous hack, masher-upper, digi/net artist. His work stands for a growing culture of artists who run wildly through animated GIF landscapes populated with corrupted data-compressed bunny rabbits and tinny, MIDI renditions of Savage Garden ballads. As the Lisson Gallery, London, opens its archives to Arcangel's curatorial eye, could digi/net art be set to infect the real, fleshy world, like a rampant Conficker Worm? Has YouTube become the truest reflection of our anthropological selves? Are we destined to roam the int3erw£bs like the mythic beasts of yore, hoping, in time, that digi art can free us from the confines of this fleshy void?

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In Bb 2.0 is a collaborative music and spoken word project conceived by Darren Solomon from Science for Girls, and developed with contributions from users.

The videos can be played simultaneously -- the soundtracks will work together, and the mix can be adjusted with the individual volume sliders.