Not Found

[url:" "]

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The field of vision has always seemed to
me comparable to the ground of an archaeological excavation. —
Paul Virilio

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"Not Found exhibition" explores the
relationship of Net_art practices with the contingent, the unseen and
the memory.


Since
its inception, the Net_art practices have been subject to the
development of Internet. During this process many links and htmls have
changed their structure, sometimes irreparably damaged, losing the
information and the work. !! Net_art is vulnerable. 

      

"Not Found exhibition" is a display of online Art-works that are no
longer active. Works that have disappeared for reasons other than their
original paths and are lost or displaced.

Nov 1st. 2015 to Jan 31st. 2016

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http://www.badplayer.com/

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`Title`	`\|`	`Badplayer`
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`Author`	`\|`	`Roberto Aguirrezabala`
`Year`	`\|`	`2002`
`Status`	`\|`	`500`
`Text_about`	`\|`	`[EN]`Badplayer is a project developed in a context of artificial intelligence in Internet, that uses chat to reveal the new problematics related to the communication. Easyfriend (2006) investigates hybrid formats of expanded cinema on the web, throughout the interactive story of an artist in crisis. With the help of conversational robots, mails, chats, passwords and virtual alter ego, Aguirrezabala obliges the users to interact with many characters without knowing if they are real persons or just bots.

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http://www.facom.ufba.br/ciberpesquisa/andrelemos/survivall/

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`Title`	`\|`	`SUR-VIV-ALL`
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`Author`	`\|`	`André Lemos`
`Year`	`\|`	`2008`
`Status`	`\|`	`403 Forbidden`
`Text_about`	`\|`	`[EN]`“GPS Writing, SUR-VIV-ALLThe idea came from the crossing of my reading of the book by Margaret Atwood, “Survival,” with my research on locative media, city, mobility and new technologies. In the book “Survival”, the author defends the thesis that the relationship with the survival is a pattern in the imagination of Canadian literature, both of prose and poetry: fighting the forces of nature, the natives, and the animals. . So, from my research on locative media, I plan to “write” the city of Edmonton (on 40 km) with a GPS Tracker, and mapping some hotspots along the way (using iStumbler, Loki, Google Maps, Google Earth…). For the first GPS draw take a look at Jeremy Wood work. What I was looking for here, in addition to entertainment, was a way to get closer to the city, to understand and feel their spaces, their dynamics. But, basically, a way to see my “survival” here.The word “SURVIVAL” has been changed to “SUR-VIV-ALL,” trying to create different meanings in English and French, the official languages Canada, and in Portuguese, my mother language. In French we can see or inferred “SUR VIV (R) E / VIE …”, something like an excess and a lack of life, just when survival is the least and last resort of existence. In Portuguese, “VIVA”, claiming to live, an imperative. In English “survival”, has its original meaning, plus the “ALL” that calls for a social dimension, the public and community.What is at stake here is the imagination of the city, the relationship with extreme temperatures, the use of cars as standard displacement, the empty spaces, the invisibility of electronic processes (written by the GPS is invisible as well the hotspots Wi – Fi) on the actual structures in the midst of public space. We have photos, videos that attempt to capture this relationship, but with the thread to link with the outside world, the nature. The “Waypoints” on the map will show (as soon as we fished the data transfer) this multimedia content, as well as Wi-Fi hotspots open (we’ve accessed some networks on the street) or closed.”

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http://aleph-arts.org/tarozena/

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`Title`	`\|`	`The Spanish Tragedy`
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`Author`	`\|`	`Teresa Arozena`
`Year`	`\|`	`-`
`Status`	`\|`	`403 Forbidden`
`Text_about`	`\|`	[ES] "El espacio social queda evocado en la imagen de una mesa redonda, una estructura democrática, igualitaria. Mesa sobre la que se produce sentido y donde se llega al consenso de la realidad, por medio del lenguaje, que cumple una labor performativa. Sin embargo se presenta aquí como un espacio ciego: Ausentes las imágenes, la representación opera a través de la palabra, del sonido que se articula en el "tiempo real". La continuidad del flujo temporal es una metáfora psíquica construída y reforzada por el lenguaje -lineal y continuo, como el tiempo común o consensual. Lo discontinuo supone una pérdida, una negacíón, el vacío, la muerte, la nada. Sin embargo, estas nociones negadas por la sociedad, están en nosotros. La vida se opone a la vida. El ser es contradictorio, dramático, extremo." [EN] "The social space is recalled in a round table image, a democratic, egalitarian structure. The table on which meaning is produced and where you get the consensus of reality through the language, which acts as a performative work. However it is presented as a blind spot: With the absent of the images the representation operates through the word and the sound witch is articulated in "real time." The continuity of the temporal flow is a psychic metaphor, built and reinforced by the -linear continuous language as the common or consensual time. Discontinuity mean a loss, a negation, emptiness, death, nothingness. However, these notions denied by society, are in us. Life is opposed to life. Being is contradictory, dramatic, extreme."

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http://www.x-arn.org/256/

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`Title`	`\|`	`TABLE 256`
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`Author`	`\|`	`Yann Le Guennec`
`Year`	`\|`	`2000`
`Status`	`\|`	`404 Not Found`
`Text_about`	`\|`	`[EN] TABLE.256 is an open free link database where you are invited to put a link to your own net.art website or whatever you want. TABLE.256 is a limited visible territory of 256 places but an endless space for links, notes, and subjectivity. TABLE.256 is a growing organism where only the last modifications are shown, a space for cohabitation, juxtaposition, or conflict.`

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http://www.nomemory.org/clock

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`Title`	`\|`	`Heart time / Time heat`
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`Author`	`\|`	`Valéry Grancher`
`Year`	`\|`	`2011`
`Status`	`\|`	`Server not found`
`Text_about`	`\|`	[EN] "Heart Time // Time heat" is a new kind of human miror : This miror is dealing with new kind of time. What should be universal time ? the actual one regulated by GMT ? But how this time may work if someone is travelling from Earth to Mars, or through universe toward another galaxy ? is this scale based on night and day may have a meaning in this context ? I guess not ! so what is the solution ? There is one : there is a specific dynamic time scale for each human. This concepts is universal for all humans in all spaces and universes, just because the origin is the birth of the person and the end the death. I'm talking about heart time : - each 'heart time' second is the heart bit - each 'heart time' minute is the person heart pulse - each 'heart time' hour is the person heart pulse number of heart minutes - each 'heart time' day is 24 heart hours ? So this clock may have a meaning for every person who uses, in all context : another galaxy, planet or countries . Is it universal for all humans ? on conceptual level : yes but on the other hands there will be a jet lag in between each human, this is a personnal time . So we decided to create on the web this kind of human clock : everybody is able to put his actual pulse with his birthdate and his personnal clock will be generated on real time and will be saved on the website. Everybody by saving their own clock, will all together generate the community clock based on all clock average result. Each person is able to generate several clock at different date and time, revealing the dynamism and relativuty of his basic own time cycle... This piece is disconnectig time to space to connect time to human cycle, we try to connect time to personnal feeling on a very simple way . This is an heart time and a time heat !

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http://www.dot-store.com

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`Title`	`\|`	`DOT-STORE`
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`Author`	`\|`	`Thomson & Craighead`
`Year`	`\|`	`2002`
`Status`	`\|`	`403 (Resurrected20 Nov 2015)`
`Text_about`	`\|`	`[EN]Posted by Jon & Alison Thomson & Craighead Thu Sep 19th 2002 1 a.m. - http://rhizome.org` `dot-store opens` `dot-store.com is now trading.` `shop@dot-store.com` `A worldwide web of vintage products and services.` `e-shop as Readymade.` `A dotcom when most others have dotgone.` `c u there,` `best wishes,` `Jon & Alison` `Posted by Jon & Alison Thomson & Craighead(@jonandali)` `November 2 2015 20:00 -` `Twitter` `www.not-found-exhibition.com made a link to our defunct e-shop www.dot-store.com, which traded from 2002 - 2004. Why not browse it's ruin?`

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http://www.bhood.co.uk/shunga

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`Title`	`\|`	`Shunga`
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`Author`	`\|`	`Beverley Hood`
`Year`	`\|`	`2002`
`Status`	`\|`	`404`
`Text_about`	`\|`	`[EN] 'shunga' is a series of twelve screensavers, one for each month of the year. The screensavers will be available for download on a month by month basis.At Beverley Hood’s website you’ll find three nude self-portraits, all made using 3D computer animation. If the first has a Lara Croft look to it - the software has Lara-like "default" settings - by the third artwork Hood has tweaked the body’s shape to her own dimensions. The hips get bigger, the breasts lose their male fantasy perkiness. The lack of vanity is striking.`

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http://flamini.com/waterdream/kafka/

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`Title`	`\|`	`kafka`
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`Author`	`\|`	`Andrea Flamini`
`Year`	`\|`	`2003`
`Status`	`\|`	`404`
`Text_about`	`\|`	[EN] Kafka is a screensaver where multiple sources are edited at random into one slow cross fading of two photographic portraits. The two faces are slowly morphed into each other at random starting points, switching orientation several time for then starting again as the movie loops endlessly in an ever changing 'identity switch.' The score is composed by a single composite sound that loops and overlaps at both pre-defined and random points in a slow crescendo. The longer the screensaver plays the higher the level of random overlaps, the higher the crescendo.

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http://lmi.com.mx/transitus/

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`Title`	`\|`	`TranSitus`
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`Author`	`\|`	`Gerardo Suter`
`Year`	`\|`	`1999`
`Status`	`\|`	`301 -> 404 Not Found`
`Text_about`	`\|`	`[EN] The unsuspecting visitor keys in the address "http://lmi.com.mx/transitus/" and moves through a site that appears to document the coordinates of a container crisscrossing the U.S.-Mexico border. On further examination, the visitor realizes that the container holds a traveler and that the visitor has interrupted the traveler's process of recovering his memory when the border was not politicized.`

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