Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz

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Four Videos by Jeremy Bailey

"The Future of Television"

"The Future of Creativity (Liberation mix)"

"Public Sculpture"


Jeremy Hight: What first interested you in Augmented Reality?

Jeremy Bailey: I first became interested in Augmented Reality before it existed. I had been working with the idea of it before there was a name people could point to, so when it first emerged I was very excited that there might finally be some public interest in what I believed was the most contemporary and critical way of thinking about computer human culture.

JH: What first brought you to work with AR as art?

JB: I first started working with the idea of AR while I was in undergrad about 10 years ago. At that time I was studying with Canadian performance video artists Colin Campbell and Lisa Steele. They introduced me to the concept of performance for the camera, which was the most popular form of early video art. It intrigued me because video had recently gone digital and the camera was becoming the computer. I challenged myself to imagine how the computer updated this aesthetic and the new critical concerns it might reveal.

JH: Your work has a brilliant element of parody. Your videos especially have a wonderful sense of skewering both the self importance some artists exude and the "gee wow" gimmick factor in not just AR but many areas of digital art. What are you most commenting on and playing with?

JB: It's a few things but most importantly I'm a white man living in a postcolonial world. I have no right to the the privilege I've inherited. I studied sociology in undergrad in addition to art, and the first art class I ever had in college was titled "Women in Art." I remember thinking to myself pretty early on in the semester, jeez I'm a total jerk, I'm the problem, how can I fix this? I realized that fixing would just involve me taking more control away from others and what was really required was self-destruction. I love stand-up comedy and decided to employ the tactics of some of my favourite comedians, using self-deprecation to create change in a way that people feel is approachable because it's entertaining.

JH: What are you working on right now?

JB: A lot of stuff! This fall I'm working on a new book with Publication Studio at the ICA in Portland, I'm preparing a new talk for Retune conference in Berlin, I'm expanding my tele-present slave performance to nearly 10 cities internationally, I'm working on a new face centric software demo inspired by Jim Carey's The Mask, I'm launching a new installation at a children's museum in Amsterdam, and I'm also taking my Important Portraits series in a new direction by bringing it to Dubai to bring attention to and empower the underrepresented Arab art patron.

JH: Who are some of your influences?

JB: I have a large number of influences, my biggest is probably my child self who was big into computers and his own ego. I'm also influenced by a lot of the great early video performance artists, Colin Campbell who I mentioned earlier is probably one of my biggest—he was funny and self deprecating and made me realize that you don't need to take the pretension of the art world seriously to make great art, you just need to have something seriously interesting to say.

JH: Would you say work also has a performative element?

JB: Absolutely! I actually make all my work as a performance, I literally enter into character to make new work—it's a bit of a head game but it's a lot of fun.

JH: What work do you plan on working on the future? Are there other areas you would like to work in and comment on?

JB: I'm interested in creating new products as art. I work as a creative director at a software company by day and employ a lot of product design philosophies I'm now misusing in a performative context for my art. I want to start coming out with real technology products like my videos but that you can take home with you and use. My first idea is to create a new line of e-cigarettes. I feel e-cigarettes are so unimaginative right now, it's a new media but just like all new media it's mimicking the format of the past. I don't want an e-cigarette that looks like a cigarette! Why can't your cigarette be sculpture, or a vocoder flute with a projector built into it so you can look cool while making presentations.

Jeremy Bailey is a Toronto-based Famous New Media Artist whose work explores custom software in a performative context. His work is often "confidently self-deprecating in offering hilarious parodies of new media vocabularies." (Marisa Olson, Rhizome). Recent projects include performances for Rhizome's Seven on Seven, Transmediale, the Stedelijk Museum, FACT, the Tate Liverpool and the New Museum in New York. For more visit JeremyBailey.net.

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