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Brian House

January 01, 1970

Brian House (born Denver, Colorado) is a new media and sound artist. His early projects were formative examples of locative media art and digital media in social practice.[1][2] His subsequent projects have focused on sound and data sonification in relation to nature and technology.[3] His work has appeared in numerous exhibitions around the world, including at the Museum of Modern Art, the Museum of Contemporary Art, Los Angeles, Ars Electronica and ZKM Center for Art and Media.

Brian House
Brian House speaking at Columbia University in 2019
Born
Brian House

1979
Denver, Colorado
Education
Known forNew media art, sound art
Websitebrianhouse.net

Biography edit

House graduated with a degree in computer science from Columbia University, where he studied at the Computer Music Center. He subsequently received a master's degree from Chalmers tekniska högskola in Gothenburg, Sweden, and was active in the local experimental music scene. House formed the Knifeandfork media art collective in 2004 with classmate Sue Huang and became a member of the psychogeography collective Glowlab on returning to New York City.

Knifeandfork received a 2007 Rhizome commission and were artists-in-residence at the Museum of Contemporary Art in Los Angeles in 2009. House was a resident of Eyebeam Art and Technology Center in 2012 and was concurrently a member of the Research and Development Lab at The New York Times. His work at the Times with personal data was featured in Time magazine.[4]

House earned a PhD at Brown University in 2018, where he studied with Wendy Hui Kyong Chun. He is currently[when?] a professor[ambiguous] of art at Lewis and Clark College in Portland, Oregon, and is represented by Gallery Nosco in London.[5]

Selected works edit

Animas (2016) edit

Animas is a reaction to the 2015 Gold King Mine waste water spill, where three million gallons of contaminated wastewater was released into the Animas River. House made an installation which transforms real-time data from water quality sensors into vibrations that activate metal panels and create an immersive sound environment.[6]

Conversnitch (2013) edit

House and Kyle McDonald converted light bulbs in public spaces into microphones that automatically tweeted overheard conversations.[7]

Quotidian Record (2012) edit

Quotidian Record is a vinyl record of one year of House's location data translated into music. One rotation of the record is one day. It comments on the physicality of data and the inherent rhythms of everyday life.[8]

Joyride (2011) edit

In 2011, House used OpenPaths and Google Street View to track the location of a stolen iPhone and create a re-enactment of the thief's journey.[9]

Trying the Hand of God (2009) edit

In 2009, House and Huang (as Knifeandfork) were social practice artists-in-residence at MOCA in Los Angeles where they produced several projects. In Trying the Hand of God, they converted the sculpture plaza into a stadium with astroturf, goalposts and bleachers, and filmed 64 versions of Diego Maradona's famous "Hand of God" goal from the 1986 World Cup. Members of the audience played the role of Maradona.[2]

Yellow Arrow (2004) edit

Main article: Yellow Arrow

Yellow Arrow was a street art project using stickers and text-messaging that took place simultaneously in 35 countries. It is an important early example of locative media and mobile phone art and draws concepts from psychogeography.[10]

Yellow Arrow was included in the Design and the Elastic Mind show at MoMA curated by Paola Antonelli.[11]

References edit

  1. ^ Raley, Rita (8 March 2010). "Walk This Way: Mobile Narrative as Composed Experience". In Schäfer, Jörgen; Gendolla, Peter (eds.). Beyond the Screen: Transformations of Literary Structures, Interfaces and Genres. Bielefeld: Transcript-Verlag. pp. 299–317. ISBN 9783837612585.
    - McCullough, Malcolm (21 August 2015). Ambient Commons: Attention in the Age of Embodied Information (Reprint ed.). The MIT Press. pp. 126–130. ISBN 9780262528399.
    - Thompson, Jessica (2018). "Beyond Beyond Locative Media: Art, Data and the Politics of Place". Drain. 5. ISSN 2469-3022.
  2. ^ a b Kester, Grant; Bluhm, Erik; González, Rita; Stang, Aandrea (31 January 2013). Hamilton, Elizabeth (ed.). Engagement Party: Social Practice at MOCA, 2008-2012. The Museum of Contemporary Art, Los Angeles. ISBN 9781933751238.
  3. ^ Greg J. Smith (7 December 2013). "Sonification and the (re-)performance of data – an interview with Brian House". CreativeApplications. Retrieved 4 August 2017.
    - Ehrenfeld, Dan (15 August 2016). "The Cloud and the Mine: A Conversation with Media Artist Brian House about Big Data and the Circulation of Digital Writing". Kairos: A Journal of Rhetoric, Technology, and Pedagogy. 21.
    - Kirn, Peter (12 August 2012). "In Percussive Harmonies, A Record of a Year of Travel – Literally, on a Record". Create Digital Music. from the original on 10 September 2016.
  4. ^ Carbone, Nick. "Through the Looking Glass: A Tour of the Mirror That's One of Time's Favorite Inventions". Time. ISSN 0040-781X. Retrieved 4 August 2017.
  5. ^ . Gallery Nosco. Archived from the original on 5 August 2017. Retrieved 4 August 2017.
  6. ^ "This art installation creates sounds based on real-time data from a polluted river". The Verge. Retrieved 4 August 2017.
    - Froyd, Susan (11 April 2017). "Myhren Gallery's Storm Warning Heats Up the Debate Over Climate Change". Westword. Retrieved 4 August 2017.
  7. ^ Power, Mike (16 May 2014). "Conversnitch turns covert surveillance into an art form". The Guardian. ISSN 0261-3077. Retrieved 4 August 2017.
    - "An Eavesdropping Lamp That Livetweets Private Conversations". Wired. Retrieved 4 August 2017.
  8. ^ VanHemert, Kyle. "Artist Turns a Year's Worth of Tracking Data Into a Haunting Record". Wired. Retrieved 4 August 2017.
    - . Co.Design. 8 July 2013. Archived from the original on 5 August 2017. Retrieved 4 August 2017.
    - "Quotidian Record". Neural (46). Autumn 2013.
  9. ^ Mat Honan (19 July 2011). "Following A Stolen iPhone's Path in Google's Getaway Car". Gizmodo. Retrieved 5 March 2019.
  10. ^ Todras-Whitehill, Ethan (25 January 2006). "Making Connections, Here and Now". The New York Times. ISSN 0362-4331. Retrieved 4 August 2017.
    - Shepard, Mark, ed. (18 February 2011). Sentient City: Ubiquitous Computing, Architecture, and the Future of Urban Space. New York: The MIT Press. ISBN 9780262515863.
  11. ^ Aldersey-Williams, Hugh; Hall, Peter; Sargent, Ted; Antonelli, Paola (1 March 2008). Design and the Elastic Mind. The Museum of Modern Art, New York. ISBN 9780870707322.

External links edit

  • Brian House's personal website
  • Interview with Creative Applications


January 01, 1970
brian, house, born, denver, colorado, media, sound, artist, early, projects, were, formative, examples, locative, media, digital, media, social, practice, subsequent, projects, have, focused, sound, data, sonification, relation, nature, technology, work, appea. Brian House born Denver Colorado is a new media and sound artist His early projects were formative examples of locative media art and digital media in social practice 1 2 His subsequent projects have focused on sound and data sonification in relation to nature and technology 3 His work has appeared in numerous exhibitions around the world including at the Museum of Modern Art the Museum of Contemporary Art Los Angeles Ars Electronica and ZKM Center for Art and Media Brian HouseBrian House speaking at Columbia University in 2019BornBrian House1979Denver ColoradoEducationColumbia University BA Chalmers tekniska hogskola MS Brown University MA Ph D Known forNew media art sound artWebsitebrianhouse net Contents 1 Biography 2 Selected works 2 1 Animas 2016 2 2 Conversnitch 2013 2 3 Quotidian Record 2012 2 4 Joyride 2011 2 5 Trying the Hand of God 2009 2 6 Yellow Arrow 2004 3 References 4 External linksBiography editHouse graduated with a degree in computer science from Columbia University where he studied at the Computer Music Center He subsequently received a master s degree from Chalmers tekniska hogskola in Gothenburg Sweden and was active in the local experimental music scene House formed the Knifeandfork media art collective in 2004 with classmate Sue Huang and became a member of the psychogeography collective Glowlab on returning to New York City Knifeandfork received a 2007 Rhizome commission and were artists in residence at the Museum of Contemporary Art in Los Angeles in 2009 House was a resident of Eyebeam Art and Technology Center in 2012 and was concurrently a member of the Research and Development Lab at The New York Times His work at the Times with personal data was featured in Time magazine 4 House earned a PhD at Brown University in 2018 where he studied with Wendy Hui Kyong Chun He is currently when a professor ambiguous of art at Lewis and Clark College in Portland Oregon and is represented by Gallery Nosco in London 5 Selected works editAnimas 2016 edit Animas is a reaction to the 2015 Gold King Mine waste water spill where three million gallons of contaminated wastewater was released into the Animas River House made an installation which transforms real time data from water quality sensors into vibrations that activate metal panels and create an immersive sound environment 6 Conversnitch 2013 edit House and Kyle McDonald converted light bulbs in public spaces into microphones that automatically tweeted overheard conversations 7 Quotidian Record 2012 edit Quotidian Record is a vinyl record of one year of House s location data translated into music One rotation of the record is one day It comments on the physicality of data and the inherent rhythms of everyday life 8 Joyride 2011 edit In 2011 House used OpenPaths and Google Street View to track the location of a stolen iPhone and create a re enactment of the thief s journey 9 Trying the Hand of God 2009 edit In 2009 House and Huang as Knifeandfork were social practice artists in residence at MOCA in Los Angeles where they produced several projects In Trying the Hand of God they converted the sculpture plaza into a stadium with astroturf goalposts and bleachers and filmed 64 versions of Diego Maradona s famous Hand of God goal from the 1986 World Cup Members of the audience played the role of Maradona 2 Yellow Arrow 2004 edit Main article Yellow Arrow Yellow Arrow was a street art project using stickers and text messaging that took place simultaneously in 35 countries It is an important early example of locative media and mobile phone art and draws concepts from psychogeography 10 Yellow Arrow was included in the Design and the Elastic Mind show at MoMA curated by Paola Antonelli 11 References edit Raley Rita 8 March 2010 Walk This Way Mobile Narrative as Composed Experience In Schafer Jorgen Gendolla Peter eds Beyond the Screen Transformations of Literary Structures Interfaces and Genres Bielefeld Transcript Verlag pp 299 317 ISBN 9783837612585 McCullough Malcolm 21 August 2015 Ambient Commons Attention in the Age of Embodied Information Reprint ed The MIT Press pp 126 130 ISBN 9780262528399 Thompson Jessica 2018 Beyond Beyond Locative Media Art Data and the Politics of Place Drain 5 ISSN 2469 3022 a b Kester Grant Bluhm Erik Gonzalez Rita Stang Aandrea 31 January 2013 Hamilton Elizabeth ed Engagement Party Social Practice at MOCA 2008 2012 The Museum of Contemporary Art Los Angeles ISBN 9781933751238 Greg J Smith 7 December 2013 Sonification and the re performance of data an interview with Brian House CreativeApplications Retrieved 4 August 2017 Ehrenfeld Dan 15 August 2016 The Cloud and the Mine A Conversation with Media Artist Brian House about Big Data and the Circulation of Digital Writing Kairos A Journal of Rhetoric Technology and Pedagogy 21 Kirn Peter 12 August 2012 In Percussive Harmonies A Record of a Year of Travel Literally on a Record Create Digital Music Archived from the original on 10 September 2016 Carbone Nick Through the Looking Glass A Tour of the Mirror That s One of Time s Favorite Inventions Time ISSN 0040 781X Retrieved 4 August 2017 Brian House Gallery Nosco Archived from the original on 5 August 2017 Retrieved 4 August 2017 This art installation creates sounds based on real time data from a polluted river The Verge Retrieved 4 August 2017 Froyd Susan 11 April 2017 Myhren Gallery s Storm Warning Heats Up the Debate Over Climate Change Westword Retrieved 4 August 2017 Power Mike 16 May 2014 Conversnitch turns covert surveillance into an art form The Guardian ISSN 0261 3077 Retrieved 4 August 2017 An Eavesdropping Lamp That Livetweets Private Conversations Wired Retrieved 4 August 2017 VanHemert Kyle Artist Turns a Year s Worth of Tracking Data Into a Haunting Record Wired Retrieved 4 August 2017 Soundtrack Of Your Life Get Into The Groove Of Tracking Your Every Move In Vinyl Co Design 8 July 2013 Archived from the original on 5 August 2017 Retrieved 4 August 2017 Quotidian Record Neural 46 Autumn 2013 Mat Honan 19 July 2011 Following A Stolen iPhone s Path in Google s Getaway Car Gizmodo Retrieved 5 March 2019 Todras Whitehill Ethan 25 January 2006 Making Connections Here and Now The New York Times ISSN 0362 4331 Retrieved 4 August 2017 Shepard Mark ed 18 February 2011 Sentient City Ubiquitous Computing Architecture and the Future of Urban Space New York The MIT Press ISBN 9780262515863 Aldersey Williams Hugh Hall Peter Sargent Ted Antonelli Paola 1 March 2008 Design and the Elastic Mind The Museum of Modern Art New York ISBN 9780870707322 External links editBrian House s personal website Interview with Creative Applications Retrieved from https en wikipedia org w index php title Brian House amp oldid 1188619131, wikipedia, wiki, book, books, library,

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