Knowledge (XXG)

Heath Bunting

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supplemental botanical guide so you can avoid poisonous plants. Bunting reveals that restriction of movement set in place by governments and bureaucracies. The project shows not only the restriction of physical borders, but the concept that the internet is not a borderless space. Bunting limits access to the project. You must be at a designated location to access the site or apply to be an authorized client.
33: 275:. On his then-website Cybercafe.org, founded in 1992, Bunting posted the phone numbers to all of the public phones and encouraged his followers to do one of the following: call in a pattern, call at a certain time, call and speak to a stranger, or show up and pick up the telephone. Bunting used his website as an informative source to let his readers know how to partake in his project. 256:
nearly every word to .com and alters the color-scheme of the document as per his white-on-white period. Some of the linked domain may have been owned in the past twelve years, but are no longer owned any more, thereby touching on the transience of Internet ownership. Bunting's work also shows the
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When 5 August arrived, Bunting went to King's Cross to pick up telephone calls. Many people called in and he witnessed as casual passers-by engaged in conversations with strangers who were perhaps halfway across the world. The project brought people together, if only for a few brief moments, to
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details ways to cross international borders throughout Europe without legal documentation. It provides video, photography, maps, and necessary materials on the project website. It demonstrate how to succeed without being located by dogs, and when not to run to avoid being shot. There is even a
126:. Bunting's work is based on creating open and democratic systems by modifying communications technologies and social systems. His work often explores the porosity of borders, both in physical space and online. In 1997, his online work 257:
range of banal or absurd domain names that companies have purchased. Not all words in the article are hyperlinked, however. Through these unclaimed words he spells out how the article touches on his own
283:, the project is described: "the train station was transformed into an art platform and the unsuspecting commuters and workers in the area became the audience." This is an early example of a 385: 272: 930: 886: 600: 271:
On Friday, 5 August 1994, Bunting orchestrated a scheme that involved many people calling public phones in and in the surrounding area of
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create a network through the communication medium of telephones. In Digital Humanities, a class by Professor Michael Shanks at
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with a white background and light grey text taken from an article about Heath Bunting. A vast majority of the words are
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Born in 1966, Bunting became active in the contemporary art world in the 1980s. In 1994, he planned to open the first
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and instigating action through a then-passive medium. Bunting's work has been compared to the work of
981: 966: 612: 971: 708: 280: 248: 239: 458: 258: 922: 135: 760: 926: 901: 882: 683: 648: 596: 540: 507: 316: 616: 108: 900:(in German) (2nd ed.). NĂĽrnberg: Verlag fĂĽr Moderne Kunst NĂĽrnberg. pp. 114–119. 485: 765: 690: 656: 434: 309: 167: 82: 808: 182: 86: 74: 955: 680: 636: 566: 545: 499: 417: 288: 186: 38: 32: 916: 786: 580: 851: 446: 874: 361: 284: 253: 221: 163: 155: 131: 668: 217: 632: 461: 190: 171: 123: 116: 112: 78: 313: 306: 252:. Instead of presenting the article in its traditional form, Bunting 213: 159: 474:
Intro to Web-Based Art: Visitor's Guide to London by Heath Bunting
334: 526: 813: 330: 225: 143: 242:. The work utilises an article about Heath Bunting written by 305:
which allowed visitors to the site to tune and listen in to
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Greene, Rachel (2004). Internet Art. Thames & Hudson.
231:, hyperlinked words turn from grey to black once visited. 122:, and was one of the early practitioners in the 1990s of 735:"The Polyphonic History of Net Art, An Eternal Network?" 946: 185:. It was on the site where Bunting first displayed his 96: 852:"Heath Bunting – Wall Street International Magazine" 782:"Rules of Crime: Kayle Brandon & Heath Bunting" 92: 70: 62: 54: 46: 23: 877:; Hunger, Francis; Lillemose, Jacob, eds. (2007). 669:Cybercafe Net Art Projects – Kings X Press Release 498:Joly, Françoise; Barth, Cornelia; Buness, Jutta; 138:. An activist, he created a dummy site for the 430: 428: 8: 486:documenta X – Exhibition of contemporary art 459:<nettime> Interview with Heath Bunting 335:Fondation MusĂ©e d'Art Moderne Grand-Duc Jean 541:"Instant cafe – Technology – The Guardian" 386:"Between the Net and the Street | Rhizome" 301:Between 1999 and 2009, Bunting hosted the 291:, one of the pioneers in performance art. 20: 809:"Intermedia Art: BorderXing Guide – Tate" 591: 589: 435:Media Art Net – Bunting, Heath: Biography 681:Heath Bunting and King's Cross Phone In 560:Elisabeth Mahoney (21 September 2001). 377: 476:Hdelacruzstevens.blogspot.com. (2009). 224:, but not all. As coded for by simple 7: 703:Digital Humanities: Heath Bunting’s 166:, however they were beaten to it by 898:net.art – Materialien zur Netzkunst 879:The Hartware Guide to Irational.org 273:London King's Cross railway station 881:. Frankfurt/Main: Revolver Books. 856:Wall Street International Magazine 527:European Lab for Network Collision 203:Own, Be Owned, or Remain Invisible 140:European Lab for Network Collision 14: 581:Own, Be Owned or Remain Invisible 236:Own, Be Owned or Remain Invisible 629:<nettime> Goodbye Classic? 539:Tony Dennis (8 September 1994). 31: 721:London Pirate Listening Station 388:. 12 April 2017. Archived from 312:. It is an early example of an 836:Marc Garrett (23 April 2012). 723:Scanner.irational.org. (2004). 613:N.Bookchin about heath bunting 264: 1: 759:Rachel Baker (10 July 2001). 464:. (1998). Tilman Baumgaertel. 170:. In 1996, he co-founded the 615:, Teleportacia.org. (2003). 411:Sean Dodson (29 July 1999). 115:, he is a co-founder of the 896:Baumgärtel, Tilman (1999). 50:1966 (age 57–58) 1003: 562:"The 21st-century artform" 761:"Mobile Movements – Mute" 689:27 September 2011 at the 437:Mediakunstnetz.de. (2010) 333:and the Luxembourg-based 134:curated by Swiss curator 130:was included in the 10th 107:(born 1966) is a British 41:, Berlin, 4 February 2011 30: 649:beyond.interface.bunting 356:taps into the themes of 303:Pirate Listening Station 296:Pirate Listening Station 128:Visitors Guide to London 915:Greene, Rachel (2004). 780:Phillips, Lisa (2004). 711:Michael Shanks. (2008). 504:documenta X short guide 488:Documenta12.de. (2009). 238:, Bunting makes use of 671:Irational.org. (1994). 583:Irational.org. (1998). 529:Irational.org. (1995). 449:Irational.org. (2001). 413:"Fine art of browsing" 947:irational.org Website 705:King’s Cross Phone In 310:pirate radio stations 266:King's Cross Phone-In 189:works as part of the 179:Daniel GarcĂ­a AndĂşjar 977:Artists from Bristol 858:. 18 September 2017. 655:10 June 2011 at the 329:Commissioned by the 181:, Rachel Baker, and 97:http://irational.org 923:Thames & Hudson 709:Stanford University 352:Commenced in 2004, 281:Stanford University 249:The Daily Telegraph 109:contemporary artist 354:The Status Project 347:The Status Project 962:New media artists 932:978-0-500-20376-7 888:978-3-86588-299-8 873:Ackers, Susanne; 684:Towson University 601:978-0-500-20376-7 337:(Mudam) in 2002, 317:listening station 208:Created in 1998, 102: 101: 63:Years active 37:Heath Bunting at 994: 936: 911: 892: 860: 859: 848: 842: 841: 833: 827: 826: 824: 822: 805: 799: 798: 796: 794: 777: 771: 770: 756: 750: 749: 747: 745: 730: 724: 718: 712: 700: 694: 678: 672: 666: 660: 646: 640: 626: 620: 617:Natalie Bookchin 610: 604: 593: 584: 578: 572: 571: 557: 551: 550: 536: 530: 524: 518: 517: 506:. Cantz Verlag. 495: 489: 483: 477: 471: 465: 456: 450: 447:BorderXing Guide 444: 438: 432: 423: 422: 408: 402: 401: 399: 397: 392:on 12 April 2017 382: 35: 21: 1002: 1001: 997: 996: 995: 993: 992: 991: 952: 951: 943: 933: 914: 908: 895: 889: 872: 869: 867:Further reading 864: 863: 850: 849: 845: 835: 834: 830: 820: 818: 807: 806: 802: 792: 790: 779: 778: 774: 758: 757: 753: 743: 741: 732: 731: 727: 719: 715: 701: 697: 691:Wayback Machine 679: 675: 667: 663: 657:Wayback Machine 647: 643: 627: 623: 611: 607: 594: 587: 579: 575: 559: 558: 554: 538: 537: 533: 525: 521: 514: 502:, eds. (1997). 497: 496: 492: 484: 480: 472: 468: 457: 453: 445: 441: 433: 426: 410: 409: 405: 395: 393: 384: 383: 379: 374: 350: 327: 299: 269: 206: 199: 152: 136:Simon Lamunière 83:culture jamming 42: 26: 17: 12: 11: 5: 1000: 998: 990: 989: 984: 979: 974: 969: 964: 954: 953: 950: 949: 942: 941:External links 939: 938: 937: 931: 912: 906: 893: 887: 868: 865: 862: 861: 843: 838:"Furtherfield" 828: 800: 772: 751: 725: 713: 695: 673: 661: 659:, Steve Dietz. 651:Walkerart.org 641: 621: 605: 585: 573: 552: 531: 519: 512: 490: 478: 466: 451: 439: 424: 403: 376: 375: 373: 370: 349: 344: 326: 321: 298: 293: 268: 263: 205: 200: 198: 195: 183:Minerva Cuevas 151: 148: 100: 99: 94: 90: 89: 87:tactical media 75:Conceptual art 72: 68: 67: 64: 60: 59: 56: 52: 51: 48: 44: 43: 36: 28: 27: 24: 16:British artist 15: 13: 10: 9: 6: 4: 3: 2: 999: 988: 987:Living people 985: 983: 980: 978: 975: 973: 970: 968: 965: 963: 960: 959: 957: 948: 945: 944: 940: 934: 928: 924: 920: 919: 913: 909: 907:3-933096-17-0 903: 899: 894: 890: 884: 880: 876: 871: 870: 866: 857: 853: 847: 844: 839: 832: 829: 816: 815: 810: 804: 801: 789: 788: 783: 776: 773: 768: 767: 766:Mute Magazine 762: 755: 752: 740: 736: 733:Aude Launay. 729: 726: 722: 717: 714: 710: 707: 706: 699: 696: 692: 688: 685: 682: 677: 674: 670: 665: 662: 658: 654: 650: 645: 642: 638: 634: 630: 625: 622: 618: 614: 609: 606: 602: 598: 592: 590: 586: 582: 577: 574: 569: 568: 563: 556: 553: 548: 547: 542: 535: 532: 528: 523: 520: 515: 513:3-89322-938-8 509: 505: 501: 500:Holmes, Brian 494: 491: 487: 482: 479: 475: 470: 467: 463: 460: 455: 452: 448: 443: 440: 436: 431: 429: 425: 420: 419: 414: 407: 404: 391: 387: 381: 378: 371: 369: 367: 363: 359: 355: 348: 345: 343: 340: 336: 332: 325: 322: 320: 318: 315: 311: 308: 304: 297: 294: 292: 290: 286: 282: 276: 274: 267: 262: 260: 255: 251: 250: 245: 241: 240:appropriation 237: 232: 230: 227: 223: 219: 215: 212:is a work of 211: 204: 201: 196: 194: 192: 188: 184: 180: 176: 175:irational.org 173: 169: 165: 161: 157: 149: 147: 145: 141: 137: 133: 129: 125: 121: 120:irational.org 118: 114: 110: 106: 105:Heath Bunting 98: 95: 91: 88: 84: 80: 76: 73: 69: 66:1980s-present 65: 61: 57: 53: 49: 45: 40: 34: 29: 25:Heath Bunting 22: 19: 918:Internet Art 917: 897: 878: 855: 846: 831: 819:. Retrieved 814:Tate Gallery 812: 803: 791:. Retrieved 785: 775: 764: 754: 742:. Retrieved 738: 728: 716: 704: 698: 676: 664: 644: 637:Olia Lialina 624: 608: 576: 567:The Guardian 565: 555: 546:The Guardian 544: 534: 522: 503: 493: 481: 469: 454: 442: 418:The Guardian 416: 406: 396:20 September 394:. Retrieved 390:the original 380: 353: 351: 346: 338: 331:Tate Gallery 328: 323: 302: 300: 295: 289:Allan Kaprow 277: 270: 265: 247: 235: 233: 210:_readme.html 209: 207: 202: 187:internet art 174: 153: 139: 127: 119: 104: 103: 39:Transmediale 18: 982:1966 births 967:Net.artists 821:27 February 793:27 February 744:2 September 244:James Flint 216:: a simple 111:. Based in 972:Public art 956:Categories 875:Arns, Inke 787:New Museum 693:, N Bosle. 635:. (2007). 372:References 339:BorderXing 324:BorderXing 229:attributes 55:Occupation 570:. London. 549:. London. 421:. London. 362:hierarchy 285:flash mob 222:hypertext 193:project. 164:Ivan Pope 156:cybercafe 150:Biography 132:documenta 739:Zerodeux 687:Archived 653:Archived 358:identity 259:identity 218:web page 633:Nettime 462:Nettime 214:net.art 191:Net.art 172:website 168:Cyberia 124:Net.art 117:website 113:Bristol 93:Website 79:net.art 929:  904:  885:  817:. 2002 599:  510:  364:, and 314:online 307:London 160:London 58:Artist 366:power 254:links 177:with 162:with 71:Style 927:ISBN 902:ISBN 883:ISBN 823:2017 795:2017 746:2019 597:ISBN 508:ISBN 398:2020 226:HTML 197:Work 144:CERN 47:Born 246:of 234:In 158:in 146:). 958:: 925:. 921:. 854:. 811:. 784:. 763:. 737:. 631:, 588:^ 564:. 543:. 427:^ 415:. 368:. 360:, 319:. 261:. 85:, 81:, 77:, 935:. 910:. 891:. 840:. 825:. 797:. 769:. 748:. 639:. 619:. 603:. 516:. 400:. 142:(

Index


Transmediale
Conceptual art
net.art
culture jamming
tactical media
http://irational.org
contemporary artist
Bristol
website
Net.art
documenta
Simon Lamunière
CERN
cybercafe
London
Ivan Pope
Cyberia
website
Daniel GarcĂ­a AndĂşjar
Minerva Cuevas
internet art
Net.art
net.art
web page
hypertext
HTML
attributes
appropriation
James Flint

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